P E R S O N A L    S T A T E M E N T

 

My mother, ‘fallen heroines’ Gloria Swanson and other mythical figures.

 

I toy with personas and atmospheres that expose vulnerability, power and assumptions about identity and performance itself. I am attempting to step into the pelt of roles that walk the line between insanity and reason, the bestial and the individual. The gap between life and death, imagination and reality is explored. These studies are on a subliminal level, never literal or explained.

 

I am concerned with embodying different states of mind, exposing psychological fragility and personal rituals that attempt to create order out of chaos and questioning a sense of purpose. This mirrors my process of performances making itself, which combines process based actions, improvisation and play with objects, physicality and extended use of the voice.

 

I attempt to address complex issues relating to who we are and the constraints in our contemporary lives. Gender, extreme mental states and mortality are interrogated using personal material, the body as site, with absurd humour playing an important role. Love, loss, guilt and shame are themes I have been exploring recently. My own experiences and those of others.  In exposing these intricate emotional worlds I attempt to reach out and allow others to resonate with the struggles, joys and images conveyed.

 

Personal Family history, current states and memories are exposed within this process, what was unseen in the past is being revealed- uncertaintity, desperation to be better, to escape, instability are companions to the material but not necessarily shown in an overt way. 

 

In some moments I am re-enacting memories and stories or creating new fictions around constant themes. I am interested in the boundaries between pleasing an audience, wanting to be accepted and loved whilst challenging my own limits of grotesqueness and foolishness. Creating discomfort in order to reveal aspects of the human condition we may not want to face.

 

Repetition, excessiveness either in language or content and claustrophobic atmospheres are used. Visibility is challenged using shadow and light, borders and barriers. Associations and connections are made without logic yet accessibility and humour is always present.

The clash of languages is pushed, preconceived ideas of what is expected in performance are trashed; performance art imagery, body painting, repetitive choreographies versus child like ventriloquism, self critiquing about ‘how it is going’ and extreme theatricality is explored.