My performances display my ongoing exploration of site-specific street actions, interventions, and interactive, collaborative and durational works. These range from a two-hour, site-specific work in Belfast on the theme of women moving through chaos, to a performance in which I supposedly taught art history while being evaluated by the audience, to a four hour performance in response to time spent in Vancouver’s downtown east side. Interactivity for me has its source in my desire for viewers to actively contribute to the outcome of a performance, to actively experience the way in which their presence alters the relationships of objects or people to one another and to the site. I have done many site-specific collaborative performances. These sites have included streets, alleys, bridges, squares, parks, parking lots, malls, a fort and a soccer field.
I have also done many shorter solo performances in galleries and festival events, which have included still images and video projections, found objects and sculptural objects. I also incorporate perfomance and video into installations.
Recently I’ve been investigating the physical and emotional effects of aging on women’s experience of agency in society and the impact of cultural perceptions of the function, visibility and value of older women. Some of my performances and video/film works have focused on this subject matter.
For the last few months I’ve been immersed in images and ideas about visual culture for a course I’m teaching and this has intensified my intent to explore the power of visual/visceral reception when verbal language fails us – when we’re reaching for understanding but can’t communicate.
My performance works continue these two ongoing concerns, employing duration, endurance and specificity, proposing tying together these related possibilities as a way forward in my shifting practice; stripping away non-essentials, leaving only my body, my senses and my ability to move.