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Speaker 1: Hello, I'm Answer Moon, the talented of gorgeous drag Queen.

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Speaker 1: I'm an expert when it comes to concealing a second side,

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Speaker 1: a secret identity, if you will, and now I'm using

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Speaker 1: that talent to uncover what other regular looking people are

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Speaker 1: concealing in their own lives. I don't know what they're concealing,

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Speaker 1: and neither do you. It's up to me to ask

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Speaker 1: the right questions and then we can uncover it together.

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Speaker 2: Time for the guest.

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Speaker 3: Roll it up. Hi there, my name is Stollach. I'm

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Speaker 3: seventy six years old. I'm a full time artist. I've

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Speaker 3: been an artist since the late sixties early seventies. A

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Speaker 3: couple of decades ago, I did a project of performance

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Speaker 3: and that's what I'm keeping concealed from art simone today, Hello, sell, Like,

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Speaker 3: how are you don't believe anything that I've just said?

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Speaker 1: Well, as soon as you said you were an artist,

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Speaker 1: I knew was out the window.

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Speaker 2: I said, alright, alright, but I love it.

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Speaker 1: It meets you like, now, this is our first time meeting,

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Speaker 1: so you've walked in.

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Speaker 2: You look like an everyday beautiful man.

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Speaker 1: I don't want to get offended, but you are giving

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Speaker 1: slight grandpa vibes here, but in a good way. Do

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Speaker 1: you have a Do you have any family? Do you

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Speaker 1: have any like grandchildren anything?

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Speaker 3: Yeah? I do. I have two grandchildren.

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Speaker 2: That's why your grandpa vibes. You know how to do it,

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Speaker 2: don't you.

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Speaker 3: Two boys?

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Speaker 1: Oh, two boys, that's all right. One of them may

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Speaker 1: be a drag queen one day.

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Speaker 2: Hey, we can.

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Speaker 3: Only can only hope.

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Speaker 1: Well, beautiful, So we've got a bit of a background

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Speaker 1: for you. So you're seventy six because you don't look

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Speaker 1: a day over to thirty five in the right lighting.

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Speaker 1: Save as me, same as me. What I'm we're doing

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Speaker 1: today is asking you three questions, and from the answers

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Speaker 1: to those three questions, I have to work out what

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Speaker 1: you were concealing from me? What is hidden? Okay? First question,

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Speaker 1: you are an artist. Who is your favorite artist?

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Speaker 3: Well, actually, my favorite artist is Duccio A Si in

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Speaker 3: these Byzantine painter goldleaf. Oh, brilliant colors, extravagance, very very seductive,

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Speaker 3: religious iconography.

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Speaker 2: Yes, what time period was he doing his art?

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Speaker 3: Late thirteen hundreds, fourteen hundreds of early fourteen hundreds.

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Speaker 2: So you're around then, weren't you?

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Speaker 3: Oh? Bloody hell, I.

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Speaker 2: Told him to use the gold lafe. I used the gold.

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Speaker 3: Lafe, mind you, but a more contemporary artist, Andy Warhol.

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Speaker 2: How beautiful. Okay, okay.

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Speaker 1: Second question for you is if you had to lose

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Speaker 1: a body part, what would it be.

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Speaker 3: I reckon the kidney, because I've got I got two

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Speaker 3: of them.

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Speaker 2: Okay, yes, you've got one, spare.

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Speaker 1: I always tell people I would happily lose my pinky toe,

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Speaker 1: any one of them. Get rid of it. I don't

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Speaker 1: need it in my life. Try finding shoes to fit

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Speaker 1: a drag queen size foot. You know, that's very elegant

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Speaker 1: and fashionable.

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Speaker 3: Very hard, but that would be a problem.

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Speaker 1: One less toe might actually fit something maybe. And Third,

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Speaker 1: what is your favorite sound?

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Speaker 3: Well, white noise actually because it contains all the frequencies

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Speaker 3: in the audible sound spectrum. Okay, it's really a combination

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Speaker 3: of all sounds.

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Speaker 1: Yeah, well that's true with me. My favorite sound is

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Speaker 1: the sound when you're walking on gravel. I just love it.

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Speaker 1: It's my favorite sound. It's like crunch, crunch, crunch.

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Speaker 2: Okay.

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Speaker 1: Some of the answer these three questions, I have to

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Speaker 1: work up what you are concealing from me? So all right,

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Speaker 1: you're an artist okay, you'd lose a kidney.

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Speaker 2: Okay, so what do you use the kidneys for? What's

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Speaker 2: that for?

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Speaker 1: Clearly nothing important if I don't remember. So art, extravagant

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Speaker 1: andy warhole, Yeah, taking pictures? Yeah, all right, yep, so yeah,

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Speaker 1: all right. And a third one, what's your favorite sound?

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Speaker 1: White noise?

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Speaker 3: Well?

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Speaker 1: Yeah, yeah, noise. Yeah, that's It's quite boring, to be honest.

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Speaker 3: But.

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Speaker 1: All right, I think I know what you do, all right,

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Speaker 1: I think I know what you're concealing from me. Now,

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Speaker 1: I had an inkling. I had an inkling when you

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Speaker 1: walked in. You said your name was Stellark, and so

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Speaker 1: there's only one way to prove that you are who

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Speaker 1: I think you are, because I think you are and

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Speaker 1: I'm very excited if you are the person that I

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Speaker 1: think you are, Stellark. Can you please lift up the

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Speaker 1: sleeve of your jumper on your left arm?

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Speaker 2: Please? Can you please show me what is underneath? And

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Speaker 2: if there's nothing there, I'm wrong, I'm wrong.

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Speaker 1: But if there's something there, I'm right and I love

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Speaker 1: it when i'm right.

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Speaker 3: So let me get this clear. Yes, that's something up

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Speaker 3: my sleeve.

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Speaker 1: Yes, I reckon, you've got well, I reckon I reckon

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Speaker 1: if you live just sleeve and maybe all right, So

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Speaker 1: Stellac is lifting his sleeve. Oh my god, yeah, Stellag

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Speaker 1: has lifted his sleeve and on his arm is an ear. Yes,

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Speaker 1: there is an ear on Stella's arm, and it's looking

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Speaker 1: at me and I can look. I'm looking at it,

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Speaker 1: and it's so happy to I've seeing me.

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Speaker 3: Hello here, I'm a performance artist who uses their physical

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Speaker 3: body but also interested in technological augmentation, in other words,

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Speaker 3: exploring alternative anatomical architectures. And in two thousand and six

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Speaker 3: I decided, instead of technologically augmenting my body to surgically

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Speaker 3: construct a soft prothesis an extra ear on my arm.

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Speaker 2: Hello, Stella, Ah, so much of what I mean?

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Speaker 1: Yes, Oh, I'm right, stell Luck is in my presence

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Speaker 1: and it is the stellarg with an ear on his arm.

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Speaker 2: Oh my goodness. Has he been listening to me through

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Speaker 2: the wall? Does you know? But I really have to know.

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Speaker 2: I have to know. Why does Stellarck have an ear.

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Speaker 3: On his arm?

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Speaker 2: Is he just like a bit of a gossip? All right?

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Speaker 1: So I'm in the presence of royalty here, I am

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Speaker 1: the Queen arts a moment, I'm here with King stellarg,

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Speaker 1: Oh my goodness, I'm so excited to be meeting you.

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Speaker 1: You've just shown me in real life your processus ear

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Speaker 1: on your arm. Oh so people may not know much

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Speaker 1: about you, whereas you know, like I know a little

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Speaker 1: bit because I swear during my primary school years and

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Speaker 1: high school year is you'd be on the TV or

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Speaker 1: I'd read articles about you. I swear we did something

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Speaker 1: in biology about you. So you've got an ear on

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Speaker 1: your why? Why why do you have any on your well?

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Speaker 3: You know, yeah. I mean I discovered in art school

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Speaker 3: that I was a bad painter, so I decided I

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Speaker 3: should get onto doing performance work.

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Speaker 1: You with me both. I went to art school as well.

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Speaker 1: I only lasted like a year and a half because

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Speaker 1: I just like, I don't really know what's going on.

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Speaker 1: They're like, do you want to take the beautiful portrait

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Speaker 1: of someone? I said no, So I started drawing on

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Speaker 1: my face. So I think we've got something in common here.

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Speaker 1: I just want to talk about the ear for a while. Okay,

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Speaker 1: I know, are you sick of talking about the ear?

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Speaker 1: I feel like after all these years, You're.

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Speaker 3: Like to me, no, I'm not sick about it.

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Speaker 1: Oh good, good, So what was the process of finding

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Speaker 1: someone to insertain ear in your arm?

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Speaker 2: You know, what does that go?

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Speaker 1: Did you go down to the GP and go, how

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Speaker 1: do I would like an ear in my arm?

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Speaker 2: Please? And they go, what do you want about? Stellark?

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Speaker 2: Not again?

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Speaker 3: I mean it took ten years to find three plastic

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Speaker 3: surgeons and to get the funding to do the first

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Speaker 3: surgical procedure. And actually during the second surgery, one surgeon

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Speaker 3: was overheard saying to the other surgeons, well, if this

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Speaker 3: is a work of art, we must be the artists.

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Speaker 2: All right.

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Speaker 1: Then maybe you think of other artists where, you know,

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Speaker 1: like even Andy Warhol, like he was the you know

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Speaker 1: conception with it all, but then it was a whole

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Speaker 1: team of people that were helping to make it happen.

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Speaker 1: So I feel like you're still the artist. But no,

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Speaker 1: they did. They were the ones that cut you open, though,

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Speaker 1: So why couldn't you What if someone donated you their ear, Like,

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Speaker 1: what were the difference of that being to like getting

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Speaker 1: the the you know, the processes.

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Speaker 3: Even if I used one of my own ears and

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Speaker 3: I considered it very fleetingly, even if this was amputated

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Speaker 3: and connected to my arm, you know, you would need

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Speaker 3: a sort of micro serious microsurgery to connect blood vessels

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Speaker 3: to you know, otherwise the ear just would not live.

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Speaker 3: Having said that, with someone else's ear, then you've got

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Speaker 3: the problem of immunological response.

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Speaker 1: I hope for you still like that one day you

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Speaker 1: just you know, it will be so far in the

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Speaker 1: future that will just be able to go, Oh.

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Speaker 3: You're But these days there's a possibility very soon of

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Speaker 3: being able to three D print a near use living

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Speaker 3: cells and also three D print the circuitry at the

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Speaker 3: same time inside it.

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Speaker 2: How how much does that excite you?

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Speaker 3: Don't I look excited?

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Speaker 1: Yeah, it's so great that these things are possible. I

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Speaker 1: mean they have a lot of other users, but for

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Speaker 1: the used of having an ear on your arm, it's

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Speaker 1: pretty exciting, isn't it.

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Speaker 3: Yeah? Well, I mean, why stop, you know, with one

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Speaker 3: ear on one arm? Why stop with two arms instead

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Speaker 3: of three?

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Speaker 2: Ah?

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Speaker 1: Has the look of your ear your other ear, your

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Speaker 1: other other ear changed over the years, like as you've

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Speaker 1: grown with it and around it, Like is it losing

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Speaker 1: some definition or is it what has it changed?

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Speaker 3: No? Not, it hasn't hasn't changed from the original surgical procedure.

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Speaker 3: But you have to understand that after the scaffold, the

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Speaker 3: biomedical scaffold is inserted underneath my skin. The skin is

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Speaker 3: suctioned over the scaffold.

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Speaker 2: Yeah.

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Speaker 3: Over a period of six months, you have tissue in

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Speaker 3: growth and vascularization occurring. So it becomes a permanent part

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Speaker 3: of your body. Yes, but about three years ago I

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Speaker 3: had a surgical procedure to try to elevate the ear

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Speaker 3: and make it more prominent.

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Speaker 2: Oh so you're still working.

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Speaker 3: Yeah, but it didn't succeed.

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Speaker 2: Yes, okay, but the.

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Speaker 3: Original intent was not only to replicate an ear and

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Speaker 3: relocated on my arm, but rather to eventually electronically augment

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Speaker 3: the ear. Yes, so it would become a remote listening

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Speaker 3: device for people online, so that I can lug in

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Speaker 3: and listen to what we we're speaking about.

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Speaker 1: Now, well, my goodness, you shouldn't say that so loud.

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Speaker 1: The CIA will get very confused. I have to check

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Speaker 1: everyone for an ear up their sleeve. But so let's

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Speaker 1: let's clarify this. You're at the moment it is just

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Speaker 1: a physical looking ear, but it has no ability to

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Speaker 1: hear anything.

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Speaker 3: No, no, no, And the intent is to try to yeah, yeah,

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Speaker 3: meant it.

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Speaker 2: In the in the journey to the ear, and the arm.

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Speaker 1: What was kind of the next couple of performance pieces

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Speaker 1: or art projects he worked on.

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Speaker 3: Yeah, Well, coming to more recent performances, there was a

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Speaker 3: performance titled rewirde Remis Yes, and that performance involved for

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Speaker 3: five days, six hours every day, I could only see

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Speaker 3: with the eyes of someone in London. I could only

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Speaker 3: hear with the ears of someone in New York. But

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Speaker 3: anyone anywhere could access my right arm and remotely activate

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Speaker 3: it via the exoskeleton I was wearing. So in that case,

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Speaker 3: what was happening was that you were sort of sharing

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Speaker 3: visual and acoustical senses with people in other places and

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Speaker 3: distributing your agency. The thing was, of course, if I

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Speaker 3: was in a Chinese cafe in New York, I could

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Speaker 3: hear one friend speaking to my left ear and his

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Speaker 3: partner speaking to my right ear, and a Chinese waiter

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Speaker 3: speaking to them in Chinese. I mean, certainly, then my

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Speaker 3: acoustical focus was on what was happening there rather than

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Speaker 3: what was, say, visually happening in London. So you're constantly

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Speaker 3: shifting your awareness. And then when someone remotely activated my arm,

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Speaker 3: that sort of shifted my balance and I had to

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Speaker 3: pivot and turn to keep grounded. So, yeah, you really

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Speaker 3: had that kind of experience of being in three places

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Speaker 3: at once.

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Speaker 1: I've always wondered with performance artists who basically give free

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Speaker 1: reign to like the public. Are people respectful because you know,

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Speaker 1: it's like and they could do anything that could, you know,

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Speaker 1: make you look at whatever, or they could make you

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Speaker 1: listen to itether or they could make your arm do whatever.

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Speaker 1: What's it like putting your trust in people, because that's

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Speaker 1: a big thing to do.

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Speaker 3: Yeah, and it's very very strange to experience that non

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Speaker 3: control of your body. But you know, this is what

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Speaker 3: happens habitually. Yes, you know, we're conditioned to perform in

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Speaker 3: particular ways. We act habitually all the time. We're conditioned

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Speaker 3: by social institutions and our cultural conditioning most of the

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Speaker 3: time NA and of course generally also through our gender.

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Speaker 3: And breaking those customary acts and behaviors means that you're

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Speaker 3: interrogating what a body is and how body performs, and

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Speaker 3: what we mean by agency and identity.

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Speaker 1: It seems like you were discovering and exploring the world

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Speaker 1: of body modification way before it almost became trendy for

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Speaker 1: a while, But I feel like you were one of

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Speaker 1: the first people to really be looking into that.

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Speaker 2: Is that true?

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Speaker 3: Well, I mean I've got lots of friends in the

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Speaker 3: body modification community now, but at the time, you know,

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Speaker 3: this was going back to the early seventies. Yes, I

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Speaker 3: mean I was kind of naive. I didn't know about

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Speaker 3: the S and M scene in San Francisco, didn't know

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Speaker 3: that that there was a body suspension community, a very

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Speaker 3: small one at the time, but that's increased. And so

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Speaker 3: my first performances were suspending my body with hooks into

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Speaker 3: my skin. So I did about twenty seven to twenty

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Speaker 3: eight of those in different positions, in various locations, in

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Speaker 3: alternate situations and circumstances. So discovering the kind of physical

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Speaker 3: and psychological parameters of the body was what these first

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Speaker 3: actions were all about.

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Speaker 1: So let's backtrack a little bit. So for people that

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Speaker 1: don't know you're doing suspension performances. So this is where

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Speaker 1: you have like hooks, what are you putting into your

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Speaker 1: skin to.

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Speaker 3: Be they're three milimeter effectively shark hooks, but with the

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Speaker 3: barb filed off.

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Speaker 1: Oh yeah, we'll take the book then you can get

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Speaker 1: them out, I guess. And how many hooks would you

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Speaker 1: have on your body.

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Speaker 3: Between fourteen and eighteen, depending whether the body was vertically

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Speaker 3: suspended yes or horizontal.

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Speaker 1: So typically eighteen hooks in you you're suspended up into

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Speaker 1: the air in various positions. How do you prepare for

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Speaker 1: something like that? What was your first baby steps? For

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Speaker 1: anyone at home that wants to hang off a building?

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Speaker 1: First of all, maybe ask a friend first, but before

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Speaker 1: you know you want to do that, what are your

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Speaker 1: steps into suspension?

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Speaker 3: Well, you know, at the time, no one was doing

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Speaker 3: it that I knew of, and so people who were

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Speaker 3: helping me were just friends, other artists.

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Speaker 1: It's true, like within the S and M scene, they'd

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Speaker 1: kind of do it for a bit of a different reason.

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Speaker 2: They might tickle their pick a little bit. But I

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Speaker 2: feel like.

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Speaker 1: Maybe that hasn't been exposed to the wider general public before.

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Speaker 1: It's all kind of behind closed doors, but you're out

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Speaker 1: there in public, been hung not like that, sorry, but

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Speaker 1: like I was just.

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Speaker 3: Well, I did a couple of really public.

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Speaker 2: Building am I right?

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Speaker 3: Well? Between two buildings over East eleventh Street in New York,

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Speaker 3: And yeah, got arrested for that, not not for performing

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Speaker 3: you know, in public nudities, or not for performing some

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Speaker 3: sodo masochistic act in public, but rather for being a

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Speaker 3: danger to the public. Had I fallen on someone, right.

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Speaker 1: Take me, yes, incent exposure, Yes, sorry, there's hooks in me.

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Speaker 2: Back. They're like, no, you just could have hurt someone.

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Speaker 2: Oh okay, all right then.

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Speaker 3: But that was only like four stories high, But in.

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Speaker 2: Covid I was only fourries high.

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Speaker 3: But in Copenhagen it was sixty meters high above the

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Speaker 3: Royal Theater. But after about thirty meters all you could

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Speaker 3: hear was the wushing of the wind, the whirring of

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Speaker 3: the crane motors, and the creaking of the skin.

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Speaker 1: You should narrate horror novels and horror movies. I think

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Speaker 1: you'd be very good at that. Something ever gone wrong

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Speaker 1: in preparation for very suspension?

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Speaker 3: Only only one in the sense that well, a couple

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Speaker 3: of times there was a suspension from a tree one

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Speaker 3: of the few performances in Canberra, the Foot of Black

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Speaker 3: Mountain in Canberra, and we exposed the roots of the

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Speaker 3: tree to make the tree less stable looking, so you

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Speaker 3: can imagine the roots kind of mirror the branches, and

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Speaker 3: then I lay beneath the roots to get the insertions done.

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Speaker 3: There was a group of a couple of people helping out. Yes,

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Speaker 3: but the problem was that we had stirred, accidentally stirred

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Speaker 3: a bunch of bull ants at a nest of bullands.

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Speaker 1: I thought it was going A big hook ripped out

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Speaker 1: of me and blood was everywhere.

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Speaker 3: No, no, what was happening every hook that was inserted.

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Speaker 3: We had to flick off hands from my back.

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Speaker 1: Wow, that is really not what I thought you'd say

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Speaker 1: in terms of things going wrong.

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Speaker 2: But is it painful? Like?

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Speaker 1: How do you tune that type of pain out? Is

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Speaker 1: it meditation? What is it that?

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Speaker 3: Yeah, there's no there's no special technique as such, but

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Speaker 3: but the attitude is that you perform with what I

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Speaker 3: would call a posture of indifference. In other words, have

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Speaker 3: no expectations, allow the performance to unfold in its own time,

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Speaker 3: with its own rhythm. Once the performance begins, the thinking stops.

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Speaker 1: Yes, it sounds like me when I'm on stage. It says,

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Speaker 1: I go on, I don't know what happens. I just

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Speaker 1: come off, and I go, well, how did I go?

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Speaker 2: And look?

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Speaker 1: You know, I don't want to compare myself to you

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Speaker 1: too much because I will ever be stellak, But you.

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Speaker 2: Know, yeah, well no, no, I've got.

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Speaker 1: A love all that you do at the moment, but

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Speaker 1: you know, when I'm stopping a lot of my corsets

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Speaker 1: and heels and all this stuff, it all hurts as well,

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Speaker 1: and people go, how do you deal with it?

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Speaker 2: And it's the same. I'm like, it just is. It

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Speaker 2: is what it is for me.

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Speaker 1: I don't realize how much pain I was in until

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Speaker 1: I take it all off. Is that is there like

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Speaker 1: a big rush of adrenaline when when your performance finishes

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Speaker 1: and you're lowered and you can take everything out.

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Speaker 3: No, I think the best way to describe it is

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Speaker 3: that you're in the same state of mind before, during,

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Speaker 3: and after.

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Speaker 1: Yeah, what's the preparation in the lead up to do

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Speaker 1: something like that?

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Speaker 2: Do you? You know?

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Speaker 1: I've listened to things of performance asks and like I

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Speaker 1: lived at an egg for three weeks until I did

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Speaker 1: the performance.

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Speaker 2: Do you do that? Or is just go and have

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Speaker 2: a coffee?

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Speaker 3: No? No, there's no kind of special techniques involved. You know,

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Speaker 3: of course, you try to plan and foresee any of

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Speaker 3: the problems. Yes, you know, the physical problems, whether some

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Speaker 3: thing might be dangerous, what risks are involved, because you know,

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Speaker 3: like in Copenhagen it was a public event, whereas in

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Speaker 3: New York. I got arrested in Copenhagen. The police manage

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Speaker 3: the traffic that was accumulating down below. It's it's always different,

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Speaker 3: so you never really learned from the previous performance, because.

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Speaker 2: Anything, anything can happen.

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Speaker 1: Still, Like, if I had to get a secondary or

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Speaker 1: a third body part, what would you recommend for me?

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Speaker 1: And where should I put it? What would you do

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Speaker 1: for me? Because I've already got fake things attached to

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Speaker 1: me all the time? Is that my real booms these

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Speaker 1: that my real hips waist isn't real. So I'm used

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Speaker 1: to making things out of nothing. So what do you

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Speaker 1: think I should I should do?

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Speaker 3: I reckon just another arm a next time. I mean,

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Speaker 3: you could do a lot with an extra you know,

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Speaker 3: especially with a hand attest.

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Speaker 2: I know, another full limb with a hand attached.

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Speaker 3: But imagine, imagine would.

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Speaker 2: It be full size? Do you think maybe like a

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Speaker 2: little one full size?

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Speaker 3: Full size, but with additional capabilities that it's ambidextrous and

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Speaker 3: it has continuous wrist rotation, So imagine what you could

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Speaker 3: do with that.

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Speaker 1: That would be the ultimate shit stereo like that, because

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Speaker 1: I could just be staring the pot all the time.

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Speaker 2: That's what they'd called me.

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Speaker 1: I can't believe I got to meet these stellar performance

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Speaker 1: artists who puts his body through the extreme as much

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Speaker 1: as I admire him, though I probably won't be attaching

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Speaker 1: another arm to my body just yet. You've been listening

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Speaker 1: to an iHeart and Kiss production concealed with Art Simone.

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Speaker 1: Grab your extra ear and listen for free on the

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00:22:56,840 --> 00:23:00,320
Speaker 1: iHeartRadio app and listen to your art's content. I don't

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Speaker 1: forget to check us out on socials and yes there's pics.

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Speaker 3: Mamma h