My performances are a hybrid of installation, ritual and healing ceremony; explored through connection, accessibility and the absurd.
Below you’ll find an image still from China Passages a meditative performance captured through a 30 day performance based healing ceremony in southwest China. This work dissects experiences in silence, connectivity, departure and restlessness. I was interested in examining the human psyche through a lyrical performance poem visually revealing the multiple layers of the mind.
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The Ecstatic Feeding and or With the Fever: A Sort of Kindly Oxygen addresses the sociological aspects of food production, mind control, and power. I’ve been interested in creating a subversive dinner party as a reaction to the diseased collective consciousness of American food consumption. In collaboration with Krowswork gallery and their performance salon entitled You Must Change Your Life, I created a performed dinner celebration with giant tie-dye dolls that surround a communal table offering a sculptural mound of green produce. Performers cook, serve, and dance within the installation while being hypnotized by a spell of verbal domination (i.e. a mind control sound track). Gallery visitors were encouraged to participate in an ecstatic eating ritual dedicated to a playful critique of the health-conscious post-modern new age.
This is Dolly (a rag-doll) that I explored different lifestyles with while role-playing an intimacy typically associated with romantic human relationships. Our desire was to examine growing frustration in climate change and collective human failure and behaviors. I’ve drawn on the historical manifestations of the doll and its role in culturally conditioning children in appropriate behaviors in nurturing, relationships and procreation. This project blossomed out of my discomfort with reproduction in a time when overpopulation, pollution and natural resources are at a global tipping point. Below is an image of us in a solar powered air stream that we inhabited.
is the awakening of human form through a mirror of extreme distortion. I was interested in constructing a “man” artificially using organic matter to suggest the tendency in humans to manipulate relationships, themselves and the world around them. Frankencarrot explores the psychological realms of fantasy and the grotesque nature they can take on. I used the historical context of Mary Shelley’s Frankenstein as a reference. I was planning on having the sculpture/installation gradually decompose and document the progression as I wanted to visualize impermanence, but, I came down with a violent case of E Coli 56 hours after construction, poetic justice, to say the very least.
Frankencarrot, 2008, carrots, spray paint, smoke machine, me variable, dimensions variable
WANT to see A RIDICULOUS VIDEO of Frankencarrot and me? click: HERE