Nwando Ebizie's Extreme Unction Vol.2 Review
About a five minute walk away from the Aldgate East tube station stood a portal to another dimension, an entryway into an abstract space that stirs the senses and provokes introspection. Nwando Ebizie’s Extreme Unction Vol. 2 is a performance installation “where grieving and loss meet ecstasy and exultation, a liminal sonic-ritual art environment.” Situated in the theatre of Artadmin’s Toynbee Studios, the immersive sensory experience forms a part of their What Shall We Build Here festival which integrates art, community and climate awareness.
Image: Extreme Unction Vol 2 by Nwando Ebizie. Photo by Olivia Sofia Ferrara
Like any other Londoner travelling on a weekday, I got to Toynbee Studios in a rush. I was hot from the June heat and a little flustered because I was told that latecomers wouldn’t be admitted as they would interrupt the performance, and here I was, late. Thankfully, an Artsadmin staff member and guide, Jennifer, kindly welcomed me. Upon arrival, Jennifer offered the other attendees and I a warm oat milk based drink with matcha, ginseng and coconut. An earlier email notified me that I’d be offered a non-alcoholic drink when I showed up, so I was surprised to have oat milk instead of, say, any basic sparkling beverage—but the intention was to relax ourselves before entering the installation.
After twenty minutes of this pre-relaxation ritual, Jennifer led us into the main attraction: a large dome fitted with benches to seat six people, similar to a tipi in the shape of an igloo. Ebizie and architect Bethany Wells designed the space to evoke an hamam, a Turkish communal steam bath. The walls were lined with soft fabric that seemed like felt and a circular pond sat in the centre of the dome. Darkness and ASMR murmurs and humming greeted us when we entered. Music is a part of Ebizie’s multidisciplinary artistic practice, and she composed all of the sounds and music that we heard. The ceiling was spotted with honeycomb formations of coloured lights that are reminiscent of the stained glass of a cathedral. This, along with the monk-like humming, gave the installation a spiritual undertone from the very outset of the show.
Image: Extreme Unction Vol 2 by Nwando Ebizie - photo by Olivia Sofia Ferrara
Immediately the dark made me feel vulnerable—if anyone were to unexpectedly touch me I would have definitely jumped out of my skin. Sharing such a confined, ethereal space with strangers felt so intimate that it bordered on intrusion. Nevertheless, if attendees ever felt over-stimulated then they were free to leave at any time via an easily accessible exit. As the performance progressed I grew comfortable enough with the atmosphere that it became meditative. The murmurs and hums gained musicality, swelling into a choir. Darkness loomed and shied away as lights pulsed to the sounds of singing and the sea reverberating around the dome.
Ebizie’s playfulness with light is mesmerising, exploring refraction and reflection across water, air, mirrors, glass and colour. Sometimes a spotlight hit the pool and shone its reflection on the ceiling, or Jennifer would spin two small suspended disco balls that would scatter dancing radiant specks across the walls. For the first time in a long time—maybe ever—my head felt clear in the most peaceful way. I wasn’t thinking about what I needed to do next or what I might have forgotten. I wasn’t planning my journey home or what to eat for dinner or a reply to an email that I should’ve sent yesterday. I was simply present, hypnotised by Ebizie’s ebb and flow of light and sound.
Image: Extreme Unction Vol 2 by Nwando Ebizie. Photo by Olivia Sofia Ferrara
Personally, the most visceral part of Extreme Unction Vol. 2 was a slow crescendo of ocean, thunder and rain noises that collapsed into an outpouring of uninhibited sobbing. Initially my response was unease—before I felt intruded upon and now I was the intruder, sonically surrounded by someone else’s sorrow. But once I asked myself why such an intense display of natural emotion made me feel uncomfortable, the sounds of sadness became extremely cathartic. The crying settled and the dome lulled into a soft but bright glow.
After the main performance ended, we were invited to have another drink and self-reflect when we left the dome. This time we were offered a cool beverage made of elderflower and mint. I greatly appreciated the opportunity to decompress and truly digest the journey that Jennifer guided us on. Jennifer spoke a little about her involvement in making the project because she was a part of the choir that sang the music throughout the performance. Attendees could write, illustrate a picture or discuss their emotions. I found the entire prologue, performance and epilogue so therapeutically calming, and I tried to ride that rare feeling of tranquillity all the way home.
Image: Extreme Unction Vol 2 by Nwando Ebizie. Photo by Olivia Sofia Ferrara
I suspect that some readers might not have found my descriptions of Extreme Unction Vol. 2 appealing at all, and I can understand why it may be too bohemian or emotionally vulnerable for some. However, if Ebizie ever decides to showcase her portable installation again, I advise you to take 70 minutes out of your day to experience this capsule journey—like me, you may be pleasantly surprised.
Date: 28 June – 1 July 2023. Location: Toynbee Studios, 28 Commercial Street, E1 6AB.
Words by Liberty Martin
