Examining the artist as gawker; with consideration to the migrational history of Lebanese hawkers in Melbourne’s marketplace, Keiso and Peters consider the artistic interplay of production and spectatorship that amounts to a position of becoming entertainers of their own production loop. Here the lost labour movements condition of waiting for work necessitate a certain political idleness, where a reliance on a system of self delineation and discursive reflexivity allows the artist to access the self and its faculties. If I am to be subsumed by non-tangible parameters, I can structure my bricolage in order to subvert or further dissolve the I.
