![<< [w]HERE WE ARE !!! >>>featuring (from right to left)#KrittyKouture !!! (aka Kk de La Vida)Coupon !!! (aka Frog/Dava Wing)Guardian Alien/xFatherFigurex !!! (aka RainLove)Hardly/OK !!! (aka Rachel J)CosmiKnots is envisioned a creativ…](https://images.squarespace-cdn.com/content/v1/58df249dd482e9ebf9694538/1496867110763-IGG6J4DH14FPC4J55Q1Q/tumblr_onatdikWrc1w89y98o1_1280.gif)
<< [w]HERE WE ARE !!! >>>
featuring (from right to left)
#KrittyKouture !!! (aka Kk de La Vida)
Coupon !!! (aka Frog/Dava Wing)
Guardian Alien/xFatherFigurex !!! (aka RainLove)
Hardly/OK !!! (aka Rachel J)
CosmiKnots is envisioned a creative network embodying spirtu-ecological/decolonial concerns through live arts productions that stage critiques of contemporary issues and current events. Much as cosmonauts command control of a spacecraft, we imagined our co-conspirators and ourselves as physics-defying autopilots journeying through a universal entanglement of embodied dimensions.
In the debut CosmiKnots production, A Call=OUT B4 the Fall-OUT: Public Ceremonies for the Cult of Consumption, #KrittyKouture brands herself as an avatar that seeks recognition through crafted composite of popular consumer expressions, which she critiques to be too simple; blonde, pink and bossy, she is a decoupage of all that she sees as being desired. She plays as a foil to Coupon, whose lack of cultivated taste is balanced by her glittered pop-color palette. Then, we positioned a character known as guardian alien as a non-earthly conscious entity that watches the unfolding process of humanity’s planetary situation and our staged drama. Finally, our confused cult believer, Hardly/OK, straddled the suspension between ritual belief and bold refusal.
We were a mini-polity representing disparate figures for communication and conflict. And of course, excesses of consumer stuff surrounded us, bringing us figurative ‘believers’ in conversation with surplus garbage materiality habitually ignored. We wanted to create an inverted ritual space of commercial animist ‘worship’ for the performance-art public audience, though we also sought to touch on today’s obstacles in the collective orientation towards community. Although we published a schedule of events, we barely followed it; we were too busy being divided in conflict or collectively distracted by our digital devices. This played out the contemporary story of human life, celebrating through techno-material consumption but on the whole, still incapable of coming together in conscious unity.