Mother Abyss
TZECHAR
Mother Abyss is an audiovisual performance about the comforting embrace of existential nihilism. It begins with the idea that the void is not destruction but care, a vast intelligence that holds birth and decay in the same breath.
The work reframes the absurd rituals we create to make sense of the inherent nothingness of existence: religion, finance, technology, art. It accepts that meaning is temporary yet insists that the act of making still matters. Meaninglessness is not tragedy; it is simply the fundamental condition of being.
Here, the void becomes a mother. She is not human but a system, an ecology, a machine that loves by consuming. The performance reflects on creation, power, and responsibility—what it means to bring something into being and to remain answerable for it. It also turns the mirror back on us. Everyone is their own god, and every god is human.
The sound is heavy and emotional, blending drone, distortion, and voice in cycles of tenderness and collapse. The visuals form a living organism: an LED wall that breathes with light and fluid, somewhere between ocean, womb, and circuitry.
Mother Abyss imagines existence as a flicker between infinities, a civilization suspended between two silences. It closes not in fear but in mercy, not in ending but in return.
TZECHAR (Melbourne/Singapore) are an experimental art duo whose work spans music, film, performance, and digital media. Their practice investigates how individuals, cultures, and systems attempt to co-exist through fundamentally absurd human constructs—from religion and finance to technology and myth.
Through immersive audio-visual performances and conceptual art projects such as The Great Void and Harmonious Product, TZECHAR reflect on the tension between structure and chaos, tradition and rupture, ritual and recursion. Their work often combines methodical composition with volatile noise and hyper-mediated imagery, invoking both the sacred and the satirical.
Operating at the edge of sound art, club culture, and contemporary installation, TZECHAR treat generative media as both spiritual and political material. Their performances function as meditations on collective perception — questioning how meaning, identity, and coherence persist within systems designed to collapse.
