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video. 6:07 (2019)
In collaboration with Kayla Elrod and Rik Burns, this piece examines the value and nature of real and synthetic expressions of mourning, celebration, and loss as they are embodied by flowers.
This piece is part of a series of explorations that probe at the nature of human-plant relationships, and specifically chronicles interactions with stinging nettles, which inject abrasive histamines into human skin on contact.
Project Statement: This piece is an experimental taxonomy I express through video performance paired with poetry, sound and text to breathe life into the plants captured in the patterns of the wallpaper at 20, Webster Court. I am interested in the moment in which plants become abstractions as they are removed from where they grow naturally and transformed into wallpaper designs and botanical subjects. In my performance I evoke the violence inherent in this removal and categorization. The audio and poetic elements of the piece expand on the histories of each plant depicted (often ambiguously) on the wallpaper. What results is a reanimation of the dead, distilled, and repeated patterns of plant-life into a ghostly museum of flora that takes the viewer and listener through various rooms of the house.
This piece is part of a series of explorations that probe at the nature of human-plant relationships, and specifically chronicles interactions with dandelions, which are as bitter as they are ubiquitous. Their bitterness becomes the trait which initiates a human reaction, even as delight and curiosity collide with disgust.
Sympathetic reception poses two questions: how do we form an intimate connection with nature, and when the idea of nature fails us (because can not exclude ourselves from the natural world) how do we form an intimate connection with our surroundings? This piece examines these questions through rituals that attempt to access this intimacy at whatever cost.
video 15:19 (2018)
The real and imagined borders between wild and urban spaces shape our experience of the natural world. eraser explores these borders through notions of belonging and the cathartic erasure of self through the experience of nature. Here the urge to transform a natural space into an inhabitable domestic sphere wars with the desire to vanish into a landscape, and remove all trace of ever having walked its paths.
video. 2:06. (2017)
In collaboration with Signe Raunkjaer-Holm
In interaction (conflation), sameness and difference collide as two figures undertake the labor of blending material information in the form of dead skin. As these materials transform the unwanted into an ethereal landscape, their origins are lost and they become homogenous. We express a wish for intimacy and self-revelation while being aware of the separation between our bodies, and the impossibility of our own ability to actually merge.
video. 1:15. 2017.
Coywolf–two approaches is a performance whose rules are derived from instructions from the Ontario Ministry of Natural Resources on how to interact with coyote-wolf hybrids that have spread throughout the Northeastern United States. This performance is the result of these instructions being enacted as accurately and inaccurately as possible in turn. The project aims to break down the mechanics of human/animal interaction.
video. 2:41. (2017).
scratch interrogates the relationship between self-reliance and self-care. This piece is a performed ritual that was motivated my my isolation in a new place. When I found an unknown rash on my body, I realized I was thousands of miles away from anyone I knew well enough to ask for help treating places on my body that I couldn’t reach myself. Cycles of soothing and irritation closely entwine each other in this two-channel piece.
video. 7:14 (2016)
This project maps the struggle of rolling a 7’ by 7’ square wooden frame, end-over-end, from the top of a mountain back into a town. By taking this rectilinear form into the wilderness, I reference the gridding of public spaces, both wild and urban. The piece is a map that charts the ritual removal of a foreign object from a wilderness setting.
video. 3:30. (2016)
In collaboration with Kayla Elrod
map: unaided was spurred by inquiry into the limitations of my body. This project maps the places on my body that I can reach with my tongue, and highlights the reliance on others to maintain and access my body. The sound component of this piece, designed by my collaborator Kayla Elrod, links body and land with both material and sound. Each sound is made by the human body in nature, creating a relationship between the exploration of indoor and outdoor spaces.
How to Measure Obsession was a performance which took place over the course of the day in which I had to perform my daily activities while burdened by 200 pounds of clay that was braided into my hair. I pushed this weight on a cart which restricted my movements only to wheelchair accessible places. This project delves into the weight (physical and psychological) of an obsession, and also the weight that beauty standards and body maintenance hold for men and women. This piece was an exercise in planned failure.