Aping the Beast was supported by Artsadmin Jerwood Commission, Camden Arts Centre, London and The Grundy, Blackpool.

Serena Korda discusses her exhibition

Aping the Beast used animal symbolism and folklore to explore our fear of the unknown and how we have evolved to confront these fears through imitation, spectacle, ritual and humour. At the centre of Aping the Beast was a 15 ft latex Godzilla inspired monster, which was bought to life three times over the course of the exhibition. The Awakening, convened local school children dressed as Boggarts, wizened old men from Lancashire folklore, to bring the Beast to life. The Fertility Orbit of the Boob Meteorite, was the Beast’s first sexual encounter with a multi-boobed goddess who performed her fertility rite, shot her load and died. Aping the Beast: The Procession, saw a procession of all the characters from previous performances join the Beast at Whitestone Pond, the highest point in London, a small man-made pond at the centre of a gyratory system. Spectators witnessed the Beast at loggerheads with two battleships. This was a re-enactment of an aquatic finale performed in 1940 that I found a written account of in the archives of Blackpool Tower Circus. The show toured to The Grundy Blackpool and drew upon the spectacle and carnival of this infamous seaside resort.