Rodgers engages with the lingering presences that continue to permeate our encounters with the building and O’Doherty’s legacy. As a young boy, O’Doherty’s elderly aunt recounted to him how, in her youth, she had seen people with green mouths, pigmented from eating grass during the Great Famine (1845–52), a catastrophic result of the British Empire’s stranglehold. Prompted by this intense imagery, Green Mouth is an interrogation into the psychological “staining” of such events on both our environment and our psyches.
Green Mouth has two distinct sections. In the first, developed over the period of a week, we see Rodgers utilizing canvas to create charcoal rubbings directly from the building. This phase is a recording of the artist’s research into the site’s material infrastructure. In the second section, Rodgers turns these canvases into a traditional Irish cloak and dons it, thereby literally embodying the building by transforming its features into a garment. She then grinds down grass with a mortar and pestle and consumes it while staring out to sea.
Green Mouth considers the societal inequalities symbolized by the building’s complex heritage. It also provides an interesting commentary on the female body. The cloak is a recurring symbol in Irish folklore and references invisibility, goddesses, and the cailleach, the divine hag associated with the land. The performance, with its seaside setting, plays with the forlorn imagery associated with the archetypical figure of Mother Ireland, and powerfully examines previously unwelcome facets of society: women, farm laborers, and the natural world.
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