We’re now at the back of the wharf, at the edge of the pavement here and facing a plot of land in height about the size of a three-storey house – at the top is a garden area with rose bushes, some still in flower with petals of purple, then there are the white flowers of some bindweed, I think. Halfway down the plot is a wall, between four and five meters high and while the right half is intact, the left half has mostly collapsed depositing a pile of rubble almost down onto the pavement in front of us. When I first saw this place I couldn’t help but read it allegorically, with a garden of Eden at the top, a metal fence halfway up keeping sinners from passing through the gap in the wall, and the chaos of lost souls here at the bottom, spilling almost onto the pavement.
And there are even some, what I call, “street demons” in among the rubble… these are the stands used by building contractors to stand their fences in and they have two holes for the poles, which are like eyes, and then to save materials they have a large hole in the middle like a screaming mouth… here, have a feel of one of their faces…
(Phil picks up one of the ‘street demons’ and holds it up for people to feel the ‘eyes’ and ‘mouth’. Then puts it back in the rubble. Then Siriol leads the group around to the benches of a recessed area close by.)
This is an extract from a performance by Phil Smith and Siriol Joyner integrating description, dance, objects and narrative for sighted and partially sighted audiences. You can listen to more of this performance in the post below.