You are immediately confronted by the silhouette of an unfamiliar hide in a familiar western living arrangement, and realize the furniture is enveloped in the same skin. The seemingly inherent stillness of the upholstery initially feels right, but its origin is unknown. The occupation of the arrangement is in the past, and shown through a displayed video piece that allows a human to awaken the objects, in turn, re-integrating performance in the now-dead traditional artifacts. Once movement filled and ceremonial to ward off evil spirits, the revelation of the Bulgarian Kukeri’s history exposes a more sinister truth, of silencing, stillness, and the capitalist life span of the cultural artifact.

What was the now hung and skinned hide’s original purpose? Was it displaced? Was its context removed? This facade of familiarity and aesthetics is the continuous catalyst for cultural dilution and further strives to achieve world spread standardization for the sake of control.

The objectification of the cultural artifact through redacting its purpose and cloaking it with a comforting and familiar nature forces the viewer to start questioning the comfortable objects they take for granted.

It’s kind of like a home but it’s really not.

It’s not for you to live in, but you could envision yourself here.

You see me wrapped in familiar texture and I reside in a familiar environment.

You hear the music that makes me move, but I am an object now.

You can just think about me, or choose not to.

I’m confronting you, but not, at the same time.

I’m not confronting you the way I should be, my purpose has been rendered obsolete.