A theatrical set constructed inside the Invites gallery space evokes a synthetic landscape. Characters, both human and non-human, are projected over sculptural props that populate the stage, intermittently aiding and guiding a narrative.
The script contemplates an idea of the individual as a ‘savvy’ entertainer or employee. There are allusions to natural and arti cial cycles of growth and loss, and the inevitability of these systems. Throughout three scenes, nancial investments are framed as an emotional act, where patterns of ‘boom and bust’ mirror the structural rise and fall of personal losses, such as a failing romantic relationship or a ca eine crash. Signs and symbols have multiple and shifting meanings: the shape of a tulip bulb can echo a teardrop but also hint at speculative mania, a name of a ower can activate a classical myth of self-infatuation, and a celebrity lookalike o ers a snapshot of regurgitated self-branding.
Brill describes the structures of her storytelling as ‘epileptic, comprised of auras and mini- seizures’. Multiple ctions are layered and looped, intermingling with snippets of sampled imagery and sound. A narrator’s voice links these elements together without rationalising messy interconnectedness into an easily digestible catchphrase. The installation re ects Brill’s interest in layered identities, and how these ‘string of embodiment’ can be simultaneously melancholy and joyous.