Lets walk over sections of the same ground; • Sound • Sculpture/Costume/Props • The Body • Choreography • Language
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 varying direction in which sound can take you. A live mixing of the senses. A synthestesis approach to performance. I direct participants to think about an expansive version of the work, the edges include music, dance, radio, sound, sculpture, text, costume, improvisation, smell, tastes, touch. I explore this emerging element of subject-object, channeling it through my own body. I look into how our bodies are conditioned. How through language things can become more tangible and concrete.
I make objects surrounding the body and tend to have more than one aspect or lifespan to them. For example, a banner/a garment, a meditational head piece that channels your left and right brain containing healing crystals, a military metal headpiece combined listening devise that has an archaic stereo two channel system, a microscopic NASA printed moon rock resting island, crafted textiles with a function. Incorporating materials that cover the body with a soft psychedelic pallet that are both sculptural costume and performative. Each object is activated at different points within the duration of performances. It is a net, an ecosystem to contain the work, be it both natural and artificial. I never make anything particularly fixed it is always comic and open.
Each costume is carefully considered for a potential language which can surround it. (They can act as the springboard for an argument or discussion, or serve as foils and/or nodes of various strands of thoughts.) e.g. The recent work Being Liberal Is Not Enough, surrounding the topic of protest, liberalism, occupying space, physical bodies standing shoulder to shoulder. This work has multiple layers and functions, a textile that was both a garment and a banner, gives a clear example of how I work with in-between objects that embody a fluid state. The materiality of the work spans through decades, philosophies, forms, feelings and texts. Particularly, in conversation with early feminist work, looking into temporalities with a particular strand of art history and how I might look to meeting some works halfway, geographically or spatially speaking or a potential to insert myself into a particular time and space.
I work with the body to flesh out politics, and corruption. Looking at bodily transit and movement as signifiers of power through history, and how we have all become entangled together. Looking to public and private spaces, daily rituals, matter that enters the body and shields a naked body. In the way sci-fi looks to the everyday to analyze social systems. The notion of community, and individualism and how we work to evolve to form future ecosystems co-habiting this earth with other beings. Placing an attention on a female experience, through the use of female protagonists. Most recently, I have been looking to looking to post-humanism thought. Taking influence from servomechanisms, automated systems, algorithms, cyborgs, the natural and artificial fragments of nature and society.
My work deals with texts surrounding the body or embodiment. In the past I have written socio-feminist fictions often writing scripts collaborating with polyglot humans. Thinking about tonality rhythm of language and communication. 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 violent parallels present within a physical world. 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.) At the moment I am forming my own alphabet, of objects, thoughts, texts which I can
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.
I have been analyzing humanity’s need to believe in something, or define ourselves against something “other”. With vast research undertaken towards Dualistic beliefs, purism, power. Working through 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. Barriors between space.
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