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Live Art Performance: Malta

Posted by Tom Estes on Saturday, August 22, 2015, In : Malta 

Tom Estes Live Art Performance: The Anomaly
 outside the Co-Cathedral of St. John, Valletta. The most famous artist who worked in Malta has to be Caravaggio. His 'work is on display inside, the Oratory of the Co-Cathedral of St. John, Valletta. However, while in Malta, Caravaggio was imprisoned in Fort St. Angelo (accused of sodomy) and later escaped to Sicily, only to die two years later at the age of 38 still hounded by the forces of justice.

I created this character ‘The Bell Ringer’ for...
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Sewing Performance at Trinity Buoy Wharf

Posted by Tom Estes on Friday, June 1, 2012, In : Sewing Performance 

 Tom Estes in Sewing Performance, Trinity Buoy Wharf

"This ‘Sewing Performance’ was created as the culmination of a residency at Trinity Buoy Wharf. In this work I gently embroider leaves and vines onto a bespoke or tailor- made suit, causing a dimpling of the material. This sewing has the effect of slowly shrivelling the arms and legs of the suit. So in a way the work is really about being powerless in the face of exploitation and is intended to accentuate a core of wordless confusion and...
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Tom Estes As an artist I have always leaned toward making Live Art performance work that is participatory or immersive in some way. In my Live Art performance I stage an 'action' and then ask members of the audience to take pictures on a communal camera. In this way, the audience becomes part of the performance, and the pictures are then posted on on-line social networking sites and web sites for another, wider on-line audience. For me, fantasy and illusion are not contradictions of reality, but instead an integral part of our everyday lives. There is a real Peter Pan Syndrome at play in my work and I suppose I would consider myself to be a carnival sideshow conceptualist, combining a bare-bones formal conceptualism with an eternally adolescent, prank DIY comic-approach. At the core of this work is an attention to the flickering, fading definition of our lives as dictated by the computer monitor and the rapid reply of instant messaging. I strive, not to break down these introverted, often self-imposed boundaries, but to look at how dataflow from the virtual realm impacts on the significance and symbolism of real-world human senses. But in doing so, I have begun to generate unexpected questions about how art might be able to inscribe itself on the surface of reality- not to represent itself on the surface of reality –not to represent reality, nor to duplicate it, but to replace it.

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