image for Workout - David Capra

Performance

Workout - David Capra
– Throne room (Wizard of Oz Intercession)

Describing himself as an ‘intercessory artist’, David Capra’s performances involve gestures of spiritual healing such as ‘the laying on of hands, banner waving, dance and glossolalia (speaking-in-tongues)’. Capra has been a member of the International Wizard of Oz Club since age seven and the enigmatic Oz is a reoccurring motif in his work. In Throne room (Wizard of Oz Intercession) (2013) he re-imagines the classic 1939 film The Wizard of Oz using dance, voice, video projection and hand-made props. Drawing connections between Oz’s illusory, emerald green throne room and ‘the throne room of God’ Capra explores the film’s depiction of the timeless quest to find your way home. The artist’s dog, a charismatic Dachshund named Teena, appears in the work and acts as a symbol of answered prayer. Capra was given Teena when she was eight weeks old after he made a series of works titled Prayers for a Sausage dog.1

David Capra (b. 1982) lives and works in Sydney. Selected exhibitions include Dance with David, Art Month Sydney, First Fleet Park, Sydney, 2013; New Intercessions, The Lock-up Cultural Centre Newcastle, NSW, 2012; Ministry of Handshakes, Tiny Stadiums, PACT Centre for Emerging Artists, Sydney, 2012; Wunder Pond, Tin Sheds Gallery, Sydney, 2012; Ode to Form, Westspace, Melbourne, 2012; Death Show 3, Parramatta Artists Studio, 2012; Birthing things in the Spirit, Firstdraft Gallery, Sydney, 2011; Helen Lempriere Travelling Art Scholarship, Artspace, Sydney, 2011; Nothing is True, Everything is Permitted, Chalk Horse, Sydney, 2011; Nighttime #13, Performance Space, Sydney, 2011; friends, TCB Gallery, Melbourne, 2010; No Right Turn, Penrith Regional Gallery & The Lewers Bequest, 2010.

1. Artist’s statement 2013

Image: David Capra, Intercession (Newcastle Pools) 2012, digital image, image courtesy and © the artist, photograph: Giselle Stanborough

During each Workout performance Brain Fuata performs Reading instructions now, transcribing his own texts and those gleaned from his co-participants as ‘a way of responding, documenting and re-performing what is enacted during the week’. He invites the other Workout artists to read his presence in the gallery, and their relationship to it.