Since 2012 our working methodology has been informed through The Certainty of Insignificance; a pro-hedonic Pascal’s Wager of our own making, designed to exuberantly extoll the likelihood that one’s actions in the world will be insignificant.

When we were first invited by The Viriconium Palace to develop a presentation we were led by two experiences. First was a warning an acquaintance gave us: that if we kept presenting in artist-led spaces no-one would take our ‘career’ seriously. Second was our observation of the work artists put into demanding financial compensation for their actions.

By foregrounding money as the reward to rationalise all actions a chance is missed to circumnavigate this dominant discourse and to lessen its significance through an emphasis on actions as ends. The overlooking of actions is the blind spot of the neurotic careerist – where everything undertaken is purely a means.

But how might people live our financially liberated, existentially buoyant ideals? How many Diogenes or Quentin Crisps can spring forth? These are questions we needed to explore through our new presentation, as it is hard to deny that making involves spending as living involves eating.
The perspective we have invoked to guide our actions here is that of self-perpetuating trustafarians – taking up employment to subsequently fund actions that are potentially only meaningful to us or available to a small group of people. This lifestyle could be understood as unnecessary extra work but we stand to promote it as pleasure.

Freed from regular financial and professional concerns we have developed malleable surfaces of thought made decorative. Our practice of philosophical embroidery combines the academic and the anecdotal, bringing to light a series of new experiences. These include a Diogenesian teleidoscope, a Tuatarina hatching pod and an old mechanics.

Trustafarian Vanity Project is a family affair and an inconvenience to nearly everyone involved, based between the Wyre Forest, Worcestershire and Phew, an island off the coast of Glasgow. Previous presentations include TNI (Vane, Newcastle, 2016), TOWWWWFD (Wasps, Glasgow, 2015), CDS (Transmission, Glasgow, 2013), SB (Centre for Contemporary Art, Glasgow, 2013), M5NF (The Royal Standard, Liverpool, 2012) and ILFTI (Collective, Edinburgh, 2012).

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