In "You killed my fish!" a basic disagreement with oneself is experienced as a non-indifference toward the other.
An audience is closed behind a sliding door onto a mezzanine in a glue factory.
Dirt on the floor, the muscles around his mouth are numbed by handfuls of cloves.
Two proxy animals for our instability; playing with a dead ſısh, capturing a lobster.
Unsubstantiated interpretation--which is nonetheless potentially valid.
A lobster inspirers an uninformed and emotional debate on the veracity of of its pain.
In fact its nerves not more complex than a mosquito, only enigmatic.
It's lack of central nervous system means the manner of death we decide,
serves only to minimise our trauma not the lobsters.
Playing with a dead ſısh, Hopper notices the life by Meade.
Hopper takes the bowl and recusitates his ſısh in his hands between rushes of water.
When interupted he shouts "YOU KILLED MY FISH!"
An arguement ensues and they run through the factory,
dropping the fish on the exit.
By negating pre-concieving artistic meaning, merit and self-expression Hopper and Meade work creating when idenity is not, deteritorialising and opening to expression through the non-identical. Not questioning the veracity of interalised problems in others and projected perceptions.
An art-process-as-artwork-as-emotion-live-exhibit where the continuum for catastrophe is for a moment actually interrupted and an escape afforded through non-sense.
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