I EAT ME is the first in a series of four solo performance shows, each commencing on successive Thursday evenings, at Paradise Row examining the diversity of performative practices at work in the art world today but also the ultimate absorption of performance into wider strategies of representation. Next in the series will be Julika Gittner (Thursday 5th March, 7 - 9pm), Will Holder (Thursday 12th March, 7 - 9pm) and lastly a curated project by Gail Pickering (Thursday 19th March, 7 - 9pm).

In a powerful invocation of the persistent human phenomenon of suicide (a suicide occurs every 39 seconds according to the World Health Organisation) the artist will probe an interior landscape of mental distress and anguish.

Suicide has been regarded in radically different terms by different societies ranging from, for example, Classical Greek and Roman culture in which suicide could be the highest expression of honour and civic duty to contemporary Western society, in which, due to the legacy and persistence of the Judeo-Christian belief in the sacredness of all life, the subject remains taboo and the act itself is typically seen as shameful.

For the duration of five days, the artist will sit naked on the gallery floor facing, his hands crossed in the funerary custom of eastern orthodox Christianity. In front of him will stand, encased in glass, a sculptural replica of his torso. Five rats - a number corresponding to both the most popular methods of suicide and the natural density of rat social groups, will gnaw away at the sculpture's perishable substance.

As he sits, watching a representation of himself being devoured, Pavlov‑Andreevich will produce a vivid portrayal of a state of extreme cognitive dissonance, externalising an internal dialogue that, as one dead, will pay no heed to social convention. Instead the artist will vomit out an unedited stream-of-consciousness, talking to anyone who approaches as he progresses deeper into discomfort and confusion.

Recalling the radical body practices of the 60's and 70's, from Vito Acconci's highly charged self-marking and social theatre of the psyche to Chris Burden's elevation of sacrificial ritual into an aesthetic regime, I EAT ME splits our attention between the real, physical presence of the artist and the symbolic representations inherent to the subject matter.