ARTIST STATEMENT

My discipline is primarily live performance/installation. Performance art allows me to experiment with the body as both a material and a conduit. Interconnectedness sits at the core of my ethos as an artist and in my practice I seek to nurture unity and fluidity between life and art.

 

Investigation into the art making process as a means therapy and working through trauma has led to discovering an alternative way to communicate. I am interested in the significance of action and gesture in live performance. I aim to establish a visual language that is subconscious, empathetic and felt, to explore how nonverbal communication can contribute to wider social debate, within nonconventional contexts and facilitate a safe space, and a channel for communicating sensitive topics, opening a dialogue, connecting performer and audience.

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My work is increasingly informed by Zen philosophies. I recognize meditation as fertile ground for creativity and attempt and strive to cultivate mindfulness in my artistic processes, and awareness in the spaces I inhabit. As such I am investigating incorporating meditative aspects in my performances, and introducing the concept of ‘moving meditation’, as a mode of engaging an audience. I continue to challenge the duality of the body as separate in relation to other materials and recognize an installation as an organic element, activated by the presence of performer and audience alike, fluid and evolving.

 

I am interested in the energy generated in live work, and the residual impact on the internal landscape (memory) as well as and the external space. I have been experimenting in site-specific and durational pieces and working closely with other performance artists. I see collaboration as a means to extend my practice beyond myself and experience new ways of thinking.

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“Against this hylomorphic model of creation, I argue that the forms of things arise within fields of force and flows of material. It is by intervening in these force-fields and following the lines of flow that practitioners make things. In this view, making is a practice of weaving, in which practitioners bind their own pathways or lines of becoming into the texture of material flows comprising the lifeworld.” (Ingold T. Textility of Making Cambridge Journal of Economics 2010, 34, 91–102)