Statement /

My practice appears lo-fi in terms of aesthetics and form. Performances seem off the cuff but are seriously considered, while leaving room for changes: my reacting to the audience. I work with the understanding that ‘art is everything,’ having no finite segregation of stages within my practice. The performances are surrounded by objects that I have made and interact with: drawings, music, sculptures. Reconfiguring these different elements within the space breaks up the tentative talk on art and affect. The objects are used as props while they simultaneously echo the themes of the work and stand as art in their own right. The intention is for the work to act as an affective stimulus so that the audience may reflect on the performance further.

My practice operates between Performance Art and Live Art. Where Performance Art rejects the object, Live Art is a framing device to approach work across, in between and at the edges of artistic forms. I meet them in performance, investigating relationships with the audience. David Antin’s work introduced me to the physical, situational and social act of talking. He did this whilst remaining deeply rooted in contemporary art, steering away from theatrical devices. Antin’s work regarding the ‘open system’ helped me formulate my view against recording performance, and to the importance of the live event. The open system marks the collapse of the distinction between production, exhibition, reception and publication. Antin follows this through to his writing, in deliberate linguistic expression of trains of thought. I have seen this inform my practice in performative writing, conversation, and pencil script: a temporary dimension.

A more performative way of writing helps to fully encapsulate the concerns of my practice.

Working on the threshold. Exposing.



Memory mood thoughts and feelings.





Deliberately crafted.

Uncertain status.


Elusive tableau.

Addressing the edges of art. What is real, what is on purpose.




Seemingly chaotic,


Research, raw.

Observational, historical, discourse.

Robust rational. Sensitive practice.





Affect is important and cannot exist without an audience; the audience is part of the work. The work is formed as the audience reacts. Thought is the medium. Through engagement and exchange feelings are the affect.

My research has led my practice to Live Art. The multidisciplinary form enables the content and unfolds through the development of the work. There are no limits or distinctions between media, making the practice – not only the subject matter – hard to define, creating an alliance between ideas and technique. Evasiveness is the subject matter, medium and effect. Even those who are critically involved with live art stumble at defining it. Working within a field that by its nature eludes definition can make it hard to keep track of where you are going, and so to ground myself I have created a manifesto. When I lose a thread I can find it again. The manifesto is a changing document that moves with my practice.

My practice is nebulous. It plays with where the art begins and ends, blurring the edges of the work. It is visually slight, but I am careful not to devalue the work or do anything out of habit. Work does not need to shout. It needs space to speak to itself. Silence is important. Pause.