Tony Jones
006: Assuming the Role of the Construction Worker
After completing works within the construction space, I felt compelled to develop a closer connection to the worker. How could I understand the construction art enthusiast unless I worked alongside them? The construction site sculptures were made during off-hours. Through this method, the workers never had the opportunity to view the work take shape. At the beginning of the workday, the pieces would reveal themselves with little information about the author or process.
Hence, I yearned to experiment with the performative qualities of labor. In Assuming the Role of the Construction Worker, I was able to work within the presence of the workers. This simple act reinforces a main component of performance-based art - namely, to create a work in front of a live audience.
This was a difficult task. Infiltrating the construction space was more challenging than anticipated. It was fairly easy to acquire the accoutrements of the construction worker (hard hat, vest, boots, etc.). However, my efforts were complicated by the proximity of the supervisor in relation to the workers. The first time that I entered the site, a supervisor immediately questioned my presence. In fact, my first three attempts at gaining access to the construction site were rebuff ed. On the fourth attempt, I entered the space and began mimicking the task of two other workers. Eventually, I was able to convince the supervisor that I was a legitimate worker.
I would attempt to perform the work once per month. Over the course of a year, I worked at two separate construction sites for a total of six days (three days at each site). I was denied access or removed from sites on nine different occasions.
Conversation with "Joe the supervisor":
Joe: (The supervisor) Excuse me? Excuse me? What are you doing?
Tony: (The artist) Hi, I’m helping these guys move buckets.
Joe: I can see that. Who told you to move buckets?
Tony: I was sent from central. They said you needed more guys.
Joe: Central? Do you mean the main office?
Tony: Yeah, I’m just doing what I’m told. Should I do something else?
Joe: Well, you shouldn’t be doing anything. This is a restricted site.
Tony: I’m sorry. I thought you guys needed extra hands. I can go.
Joe: The office should’ve told you to check in with me first. I’m Joe.
I’m the site supervisor.
Tony: Hi Joe, I’m TJ.
Joe: Who did you speak with at the main office?
Tony: Oh boy, I can’t remember. I’ve got the name written on a piece of paper. Should I go get it?
Joe: Was it Charlotte? Older sounding lady?
Tony: Yeah, kinda a deeper voice…
Joe: Kept calling you “cupcake?”
Tony: Yeah.
Joe: Yeah, that’s Charlotte. (Silent pause). Well, I could probably use you today and tomorrow, but I can’t guarantee anything after that.
Tony: That should be enough time to finish the performance.
Joe: Finish the what?
Tony: That should be enough time to make some money. Pay some bills.
Joe: All right. Well, keep these buckets moving. I’ll check back in a bit.
After completing works within the construction space, I felt compelled to develop a closer connection to the worker. How could I understand the construction art enthusiast unless I worked alongside them? The construction site sculptures were made during off-hours. Through this method, the workers never had the opportunity to view the work take shape. At the beginning of the workday, the pieces would reveal themselves with little information about the author or process.
Hence, I yearned to experiment with the performative qualities of labor. In Assuming the Role of the Construction Worker, I was able to work within the presence of the workers. This simple act reinforces a main component of performance-based art - namely, to create a work in front of a live audience.
This was a difficult task. Infiltrating the construction space was more challenging than anticipated. It was fairly easy to acquire the accoutrements of the construction worker (hard hat, vest, boots, etc.). However, my efforts were complicated by the proximity of the supervisor in relation to the workers. The first time that I entered the site, a supervisor immediately questioned my presence. In fact, my first three attempts at gaining access to the construction site were rebuff ed. On the fourth attempt, I entered the space and began mimicking the task of two other workers. Eventually, I was able to convince the supervisor that I was a legitimate worker.
I would attempt to perform the work once per month. Over the course of a year, I worked at two separate construction sites for a total of six days (three days at each site). I was denied access or removed from sites on nine different occasions.
Conversation with "Joe the supervisor":
Joe: (The supervisor) Excuse me? Excuse me? What are you doing?
Tony: (The artist) Hi, I’m helping these guys move buckets.
Joe: I can see that. Who told you to move buckets?
Tony: I was sent from central. They said you needed more guys.
Joe: Central? Do you mean the main office?
Tony: Yeah, I’m just doing what I’m told. Should I do something else?
Joe: Well, you shouldn’t be doing anything. This is a restricted site.
Tony: I’m sorry. I thought you guys needed extra hands. I can go.
Joe: The office should’ve told you to check in with me first. I’m Joe.
I’m the site supervisor.
Tony: Hi Joe, I’m TJ.
Joe: Who did you speak with at the main office?
Tony: Oh boy, I can’t remember. I’ve got the name written on a piece of paper. Should I go get it?
Joe: Was it Charlotte? Older sounding lady?
Tony: Yeah, kinda a deeper voice…
Joe: Kept calling you “cupcake?”
Tony: Yeah.
Joe: Yeah, that’s Charlotte. (Silent pause). Well, I could probably use you today and tomorrow, but I can’t guarantee anything after that.
Tony: That should be enough time to finish the performance.
Joe: Finish the what?
Tony: That should be enough time to make some money. Pay some bills.
Joe: All right. Well, keep these buckets moving. I’ll check back in a bit.