Eos draft 3

Let’s walk over sections of the same ground; • Sound • Sculpture/Costume/Props • The Body • Choreography • Language SOUND I am working to achieve a synthestesis approach to performance, a live mixing of the senses. I look to make repetitive, sarcastic, flat, rhythmical, sloppy, electronic, automated, conversational static, confused “music”. I have been thinking about catchy soundtracks, humorous deliveries of sound, and keyboard catastrophes. Interfering sound, announcements and the varying direction in which sound can take you. 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, textures. 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? LANGUAGE My work deals with texts surrounding the body or embodiment. In the past I have written socio-feminist fictions often writing scripts collaborating with humans in multiple languages. Thinking about tonality, rhythm of language and communication in the same way that I work with sound. In that past I have written scripts/poems that were playful, poetic and non-sensical about my everyday perception of the world. I extracting algorithms and building up a thesaurus of everything in my world like a tree trunk storing worlds over time. 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 (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, “correctness” and the way words sit on the page. Moreover, moving to Holland and not understanding the sea of sentences floating around my body. At the moment I am forming my own alphabet, of objects, thoughts, texts which I can go on to compose a new code with. I am accumulating things, ideas and am interested in out of linguistics things become more tangible and concrete. Working to create a body of work where possibility is a method, de-coding systems of histories that miss out others. Looking at the bankruptcy of systems as a whole, and the waves of Nation State post-ideology that run through us.

SCULPTURE/COSTUME/PROPS 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, or a microscopic NASA printed moon rock resting island containing crafted textiles with a function, A ceramic talking head containing soup, an ashtray of Europe that you can bake bread in. Often, incorporating materials that cover the body with a soft psychedelic pallet that are both sculptural costume and performative. Some can be worn, some cloak the body, I have recently been making a quilt with Diptique technique abstract DNA and penises on it which will feature in a time based event. 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 and welcomes improvisation. It is crucial to work with others, as so to have many voices output from inside one transmitter.

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; physical bodies standing shoulder to shoulder, occupying space along with what liberalism means or can look like. 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. Looking into what it means to be a fan of particular historical works in the same way that that a Queer DIY music scene operates, through zines and savvy underground networks. Is it possible to make artwork that transmits the same energy and potential as punk music?

THE BODY 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. Researching into how our bodies are conditioned and one individulas body against a pulse of society. Placing an attention on a female experience, through the use of female protagonists. Most recently, through our Spinoza seminar, I have been looking to looking to post-humanism and neomateralistic thought. Applying this to a conversation of my previous works that grew out of influence from servomechanisms, automated systems, algorithms, cyborgs, the natural and artificial fragments of nature and society. There is also a tendency to isolate a body part throughout my work. CHOROEGRAPHY/MOVEMENT/DANCE My approach to movement is inspired by everyday white. Generally, collaborating with groups of women whom in general already know one another. We look into a collective consciousness. Mapping is the initial process I undertake, by drawing out the architecture of the space with multiple bodies, transcribing a choreography together. Built on foundations of phrases I have compiled, E.g. Collective concertina or accordion movements. Every day people bring reflections about what they feel that day to the work. Thinking collectively about primal movement, synconisity, the amateur and professional along with gestural movements inherent to science fiction. My recent work, Being Liberal is not enough worked with how protest operates and looked to make barricades of movement of bodies standing next to one another; shoulder to shoulder, action, protest, and choice. There ere moments when performers held out their hands as an offering, which steadily progressed into aggressive movements with glimpse of constructing images containing strangulation, borrowing aesthetics of utopian cults. Further developing my earlier work of groups of women acting out monotonous poses linked to Post-Fordism and invisible labor in the form of tableaux vivant. REFERENCES CONCEPTUAL I have long 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. How belief becoming a strong aesthetic in the formation of individuals lives and what happens within intersections of belief or how to they materialize into performative hybrids. In my intellectual neighborhood. Laurie Anderson Judy Chicago. Simone de Beauvoir, Judith Butler, Rosi Braidotti, Paul.B.Preciado. Virginia Woolf’s Donna Haraway, Helene Cixous Rootprints, Anne Gareta, Sphinx, Ovid’s Metamorphasis, Laurie Anderson, Judy Chicago, Ursula le Guin, Aldous Huxley, Oskar Schlemmer das Triadische Ballet, Pil and Galia Kollectiv.

Sun RA, The Slits, The Raincoats, Anne Clark (poet songwriter electronic musician), Siouxsie Sioux, Michael Clark (Scottish Queer Dancer), DNA (guitarist/artist Arto Lindsay), Genesis P-Orridge,Sue Tompkins. My girlfriend and friend’s incredible bands.