A Willow (Or Without Godot), Audio Installation, mattresses, ipods, stones, gravel from the Museum’s outdoors, 12’ each looped, 2006. A Willow (or Without Godot), is a reinterpretation to Samuel Beckett’s 1949 play Waiting for Godot, the spectator’s presence is made theatrical within the context of the Museum exhibition room, as an audio piece with mattresses draws the spectator in an intimate, private mode while they themselves are displayed in the center of the gallery.
One audio track is taken from the character Vladimir and the other from Estragon, with the artist having recorded what she felt as a deep complicity and affection between these two characters. As the play itself, this work does not intend to follow any moral narrative, and also as in the play, the audience of the performance intends to embody the character Pozzo and Lucky in order to break the monotony of Vladimir and Estragon, the one's waiting; "Reinforcements at last!" as Vladimir says. The work alludes to an active role for the art viewer, for the viewer to be a sort of Lucky, the one "abused, burdened and exploited Lucky, who nevertheless, is permitted to deliver a speech which, though disjointed, fragmented, assembled from the remnants of various branches of wisdom and knowledge, articulates unpalatable truths about the human condition" (G. Dukes, 2006) . The sound of the Irish sea plays in the background and gravel from the grounds cover the entire room--contrary to the non specificity of the play's setting, do Carmo's work physically bounds the play to the place where it is being exhibited, as the gravel contains elements of the public spaces where it is taken from, like cigarret buts, insects or plants or other objects.

A Willow (Or Without Godot), Audio Installation, mattresses, ipods, stones, gravel from the Museum’s outdoors, 12’ each looped, 2006. A Willow (or Without Godot), is a reinterpretation to Samuel Beckett’s 1949 play Waiting for Godot, the spectator’s presence is made theatrical within the context of the Museum exhibition room, as an audio piece with mattresses draws the spectator in an intimate, private mode while they themselves are displayed in the center of the gallery.
One audio track is taken from the character Vladimir and the other from Estragon, with the artist having recorded what she felt as a deep complicity and affection between these two characters. As the play itself, this work does not intend to follow any moral narrative, and also as in the play, the audience of the performance intends to embody the character Pozzo and Lucky in order to break the monotony of Vladimir and Estragon, the one's waiting; "Reinforcements at last!" as Vladimir says. The work alludes to an active role for the art viewer, for the viewer to be a sort of Lucky, the one "abused, burdened and exploited Lucky, who nevertheless, is permitted to deliver a speech which, though disjointed, fragmented, assembled from the remnants of various branches of wisdom and knowledge, articulates unpalatable truths about the human condition" (G. Dukes, 2006) . The sound of the Irish sea plays in the background and gravel from the grounds cover the entire room--contrary to the non specificity of the play's setting, do Carmo's work physically bounds the play to the place where it is being exhibited, as the gravel contains elements of the public spaces where it is taken from, like cigarret buts, insects or plants or other objects.

A Willow (Or Without Godot), Audio Installation, mattresses, ipods, stones, gravel from the Museum’s outdoors, 12’ each looped, 2006.
A Willow (or Without Godot), is a reinterpretation to Samuel Beckett’s 1949 play Waiting for Godot, the spectator’s presence is made theatrical within the context of the Museum exhibition room, as an audio piece with mattresses draws the spectator in an intimate, private mode while they themselves are displayed in the center of the gallery.
One audio track is taken from the character Vladimir and the other from Estragon, with the artist having recorded what she felt as a deep complicity and affection between these two characters. As the play itself, this work does not intend to follow any moral narrative, and also as in the play, the audience of the performance intends to embody the character Pozzo and Lucky in order to break the monotony of Vladimir and Estragon, the one's waiting; "Reinforcements at last!" as Vladimir says. The work alludes to an active role for the art viewer, for the viewer to be a sort of Lucky, the one "abused, burdened and exploited Lucky, who nevertheless, is permitted to deliver a speech which, though disjointed, fragmented, assembled from the remnants of various branches of wisdom and knowledge, articulates unpalatable truths about the human condition" (G. Dukes, 2006) . The sound of the Irish sea plays in the background and gravel from the grounds cover the entire room--contrary to the non specificity of the play's setting, do Carmo's work physically bounds the play to the place where it is being exhibited, as the gravel contains elements of the public spaces where it is taken from, like cigarret buts, insects or plants or other objects.