Bachelor and spinster balls have taken place across rural Australia for many years.
Originally designed to overcome the isolation of communities living at great distances from each other, they were formalised social engagements providing an opportunity for people to meet potential life partners.
Over time the emphasis of these gatherings has changed and has dissolved into organised chaos and anarchy with hedonism at its centre. This shift of intent is not uniquely Australian and research into similar events around the world reveals parallel changes happening elsewhere. The Midsummer celebrations in Sweden and the Spring Break rituals in America, are just two examples of traditional festivals having turned into franchised days of rapture.
Today bachelor and spinster balls are symptomatic of a disinterest in tradition and the desire for debauched gratification. Kenne’s project asks if such distain for history matters, and if its rejection impacts upon ideas of self and identity. Without a connection to the past, is it possible to form an idea of what the future should or could hold for us?
In The Ball the steadfast pattern of confusion and disorder begin to reveal something else. The chaos becomes both a representation and a metaphor for living only in the now with an intensity that suggests that life is forever and that neither yesterday or tomorrow matter.