The armature of the double-sided vanity mirror from Endless Scopophobia I is replaced with the body of the artist.
Endless Scopophobia II
Durational performance with mirror and mini-projector
In this durational performance, the human body assumes the functional role of an inanimate object: the support structure that holds a mirror. Garski holds a mirror steadily between their teeth, which reflects the video being transmitted from the mini-projector back onto the wall. The silhouette of the artist's lips, teeth, and saliva encapsulate the projected video on the adjacent wall.
The video that is projected onto the mirror is also utilized in the installation piece Endless Scopophobia I. In this iteration, the video of Garski slowly brushing their teeth with charcoal power while singing The Velvet Underground’s “Candy Says” is isolated. The limited surface area of the mouth-sized mirror restricts the visibility of the projected video. The silhouette of the performer’s trembling mouth encircles the projected video. This performance requires keen focus and physical stamina. Garski remains very still, yet subtly adjusts their posture and angle of their mouth as the posture of the figure shifts within the projected video. Bubbles of saliva are visibly detectable around the silhouetted projection as they collect in the corners of Garski’s mouth throughout the performance.
The politics of the gaze and looking relations are heightened as they play out on the body of the artist. The probing lens of the camera is abruptly halted and spit back onto the wall by the mirror. Through this process, the mirror assumes hierarchal power over the camera, subverting the commonly held notion that the mirror’s primary purpose is to aid in superficial acts of vanity.
Although their body is tense and strained, Garski has total control over the mirror and the camera. When their lips close around the mirror, the performance ends.