Eo 1st draft messy but there is a potential

[Steve suggests: This is all there. You get a real sense of your work and what is at stake with it. Today concentrate on the editing and think about images and the visual form of the text.]

I will introduce you to the work walking over sections that are all part of the same ground.

SOUND I make repetitive, sarcastic, flat, rhythmical, sloppy, electronic, automated, conversational static, confused “music”. I have been thinking about catchy soundtracks, humorous deliveries of sound, keyboard catastrophes. Interfering sound, announcements and the drive of direction which way sound can take you. Moreover, about smearing senses, synergists and entering an environment.

SCULPTURE/COSTUME/PROPS The work produced has a strong methodology objects that have more than one aspect to them. They can act as the springboard for an argument or discussion, or serve as foils and/or nodes of various strands of thoughts. The SCULPTURE/COSTUME/PROPS are all in-between objects containing a fluidity and potential to be re-used into future works. Resembling metal headpieces, throw away plaster pieces, trashy club wear, pattern crafted textiles. Materials that cover the body with a soft psychedelic pallet. Both sculptural costume and performance. The object is activated at different points within the duration of it being in a space. It is a net, an ecosystem to contain the work, be it both natural and artificial. File:We.jpg The work has multiple functions, be it both a garment and a banner, or a headpiece that attracts light. The materiality of the work spans through various cultural decades, philosophies, forms, feelings and texts. Particularly, early feminist work.

THE BODY I work with the body to flesh out body politics, corruption and organic invasions. Looking at bodily transcendences as signifiers of power through history, how we have all become entangled together in my experience. Looking to public and private spaces, daily rituals, matter that enters the body and shields a naked body.

Placing an attention on a female experience, through using female protagonists. Looking at naked bodies, and the violence towards women; the depiction of female nudes and their place within historical subject matter of art Vs untold art histories.

Looking to post-human beings. Taking influence from servomechanisms, automated systems, algorithms.

LANGUAGE My work deals with texts surrounding the body or embodiment. In the past I have written modern day socio-feminist fictions. Speaking multiple languages, In that past I have written scripts/poems that were playful, poetic and non-sensical about my everyday perception of the world. I would then allocate these prose to works and build them up from there observing where patterns were formed.

I look at associations to the female through language and feminist incentives to change grammar biased words. Thinking about the fact that the moon is feminine (la lune) has an impact on how we think of the moon, or images that have been associated with the moon across history. Looking to steer an audience towards the mechanics of grammatical gender and make parallels with violence against women and exploitation. The train of thought originated in my experience of learning French and the gravitational pull of French feminist thought and thinking about grammar and how language shapes society.

Thinking about mistakes within language, auto-correct what is deemed as good grammar. My own experience growing up with dyslexia and being swamped by words. Writing poems with misspelt words, or leaving the naturally occurring ones in, before they are swiped out for an auto-correct or right click trade. Thinking about the alphabet, the way words sit on the page. Algorithms and thesaurus of everything like a tree trunk storing worlds over time.

CHOROEGRAPHY/MOVEMENT/DANCE Collective concertina or accordion movements. My choreography is always a collaboration with groups of women whom already know one another. We look into a collective consciousness. Every day people bring reflections about what they feel that day to the work. Primal movement, synconisity, clumsy elegance, the amateur and professional. Gestural movements inherent to science fiction.

Mapping is the initial process I undertake, we draw out the architecture of the space with our bodies and transcribe choreography together.

Looking to surprise, creating barricades of movement. Thinking about how protest operates, physical bodies standing next to one another. Shoulder to shoulder.

Performers hold out their hands offering, Action, protest, choice. Aggressive strangulation moment, borrowing aesthetics of utopian cults. Monotonous poses in the form of tableaux vivant.

REFERENCES CONCEPTUAL

Population of planet earth Dualistic beliefs, purism, power, symbols that sit next to each other and rub up against each other. Complements and contradictions within cultural appropriations. ‘belief becoming a strong aesthetic in the formation of individuals lives. Barrios between space, A political nothingness.

AND FROM OTHER HUMANS

Laurie Anderson Judy Chicago. Simone de Beauvoir, Judith Butler, Rosi Braidotti.

Vigina Woolf’s Orlando, Donna Haraway’s Cyborg Manifesto, Helene Cixous Rootprints, Anne Gareta, Sphinx, Ovid’s Metamorphasis.

AND FROM OTHER HUMANS

Laurie Anderson Judy Chicago. Simone de Beauvoir, Judith Butler, Rosi Braidotti.

Vigina Woolf’s Orlando, Donna Haraway’s Cyborg Manifesto, Helene Cixous Rootprints, Anne Gareta, Sphinx, Ovid’s M