Taking a philosophical journey, Matthew Lloyd suspends the artist as an impersonal subject. Whose prohibition, incorporeality, and (non)being, become mise-en-scenes of a strange comedy. Allegorical of a reality in motion of divorce, with graceful isolations and ambiguous intermissions, this vacant performer without spectators is caught in a play disturbed from itself. Focused on de-subjectivitying the artist through questioning the ethical measures of aesthetics, Lloyd cinematically drags the plight of language, the violence of negation, and the politics of the voice, onto a perverse philosophical and psychoanalytic stage. Documented like elusive crime scenes, where a residual metanarrative leads Lloyds investigation into the hollowing out of artist subjectivity, autonomy and disposition.

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