VISUAL RECORDS
EXHIBITION ARCHIVE
The movement, the sound, the collective experience.
SPAM was not an exhibition in the classic sense. It unfolded as a shared moment. It asked the audience not just to look, but to take part, to enter a space where everything felt unstable and alive.
It was about overload. About experiencing too much and letting that “too much” become the point. As you move through the archive, you begin to notice that the work is not only documentation but a fragmented manifesto.
The space itself shaped the experience. Its unfinished walls, rough textures, and bare light created a setting where nothing was staged to perfection.
Every detail became part of the story. The space carried its own memory, and that memory mingled with ours.
And at the center of this intensity was the performance “WASH IT OUT.” On the surface, it looked like a ritual of cleansing. Through gestures, textures, and sound, it unfolded as a crescendo, starting with slow movements and growing into moments where control dissolved into irony, excess, and release.
It was a conceptual dissection of the modern human condition.
At its core, it’s an encounter between the Disobedient Doodle, a symbolic persona that emerges as an error, and the machinery of normalization and erasure.
The collection itself was never static. Under shifting light and movement, the clothes were revealed by the end of the performance. Each piece acted less like a product and more like a demanding introspection.
A reveal that speaks about the excess, the repetitive, the decontextualized information overload we ingest daily.
Unfinished. Unpolished. Alive.
It’s the absurdity of our existence.
