Tsunoda's practice has developed from developed from performance, to a process that creates unique things that perform for her. Works that mediate and die. Objects that function as event, as living beings, and yet exist as more than substitute, more than fetish.

Daily incantation was first realised in 2003 with an electric motor. It's clockwork reincarnation brings a new fragility and viciousness to the work. Through meticulous construction we feel the physicality of the performer. The Perspex box of cogs and wheels that groans into action, the circle of what could be Tsunoda's trimmed black hair that falls to the floor.

Watching this work is like holding a bird in your hand, and feeling it's heartbeat through its fragile cage of bones. Horribly conscious of the temptation to crush.

The scissors cut, the clockworks creaks and the destructive ritual continues until the spool runs out. It is integral to Daily Incantation that to the work remains disposable. One use only. Through the meticulous construction we feel the physicality of the performing thing. Yet the very corporeality of the heartbeat, the intricate brass clockwork, can distract from the passing nature of the piece. The decision to allow an edition to be fabricated by the Cass Sculpture Foundation is thus consistent with Tsunoda's practice. By allowing this piece to become a numbered product, its disposable nature is accentuated.

The work accepts duplication and in doing so, in the form of a limited edition, escapes its own commodification. The defined object is both denied and accepted, and a lucid meditation is pulled from the anarchy.

Louise O'Hare August 2007