Distorting lights enhance the nightmarish atmosphere against the thickening darkness. The theatricality of the installation evokes scenes from one’s nightmare, where objects metamorphose into ghoulish caricatures and appear in one’s subconscious nightmare.

The line between animate and inanimate is blurred, with the obscurity and uncanniness of each object presented. With the fear of the unknown pressed against the unsettling horror, the abject makes itself present.

Abjection carries itself within the realm of objects and subject, psychological/psychoanalytic submersion, the conscious and subconscious mind, childhood and adulthood, language and religion.

With the focus being installation art, the viewer can experience first-hand the captive environment in which they are placed.

The research applies itself to the oppressive nature of the abject in horror and everyday life whereby the human condition is governed to follow societal ideals, repressing anything that does not fit into them.

The ultimate question I ask is: how does the abject function theatrically in installation art?

I employ the cumulated research on abjection, theatricality and installation art in one, to showcase that how it functions is dependent on the uncanniness of objecthood and of the object itself.

Through experimentally combining different objects such as dolls and domesticated furniture and materials taken from soft toys such as stuffing from teddy bears - the ‘soft lamp’ sculpture is born.

I retain the functionality of these objects to maintain the overall abjection in terms of animate and inanimate. Taking all of this into consideration, I immerse these objects in the form of a ‘dark installation’. In doing so, I exaggerate the theatricality of the objects in the realm of the abject referent.