My research interests specifically relate to aspects of Othering and the individual’s communal experience of living on the (supposed) fringes of society. Over the course of my MA, I wrote about artists’ alter egos & performativity, disidentification, and queer aesthetics & utopia.
Practically and critically, I’m curious about performance art’s resistance to text, or its apparent lack of poetry. I hope to continue researching, thinking, and writing about Live Art as experienced through ideas of queer futurity, poetics, and an aesthetic utopia.
As of 2015, I have begun a deeper investigation of phenomenology, and it’s potential practical applications within live one-to-one engagements. This ties into an overarching interest in intimacy, proximity, and scale in Live Art contexts & spaces.
~ intimacy and proximity in Live Art
to (re)interpret performed work through lenses closeness and scale; to clarify and identify (natural) occurrences from manipulations in Live Art encounters; to apply concepts within phenomenology and (inter)subjectivity to the explication and experience of live or performed work; to engage with affect and queer studies as lenses through which to interpret live engagements of varying degrees and scales
~ alter egos and (dis)identity in art
to interrogate how individual artists construct, deconstruct, and reconstruct other identities in performance and visual practices; to consider the access granted to these artist-creators by their alter egos; to ask if and how alter egos allowed these artists to engage with specific issues or in-groups outside of their own purview
~ rituals in performance: ghosts, shamans, & twin-spirits
to archive and utilize the rich history of ritual practice as a way to deeply understand our connections with space, community, and self (with particular focus on the gender-ambiguous practices of shamanic cultures)
~ the observer, the observed, & the observable: “who’s in charge?”
to establish new lines or modes of communication between all parts/parties of a performed event or experience, especially in regards to performance in less formal spaces (i.e. bars, nightclubs, warehouses, galleries, the street, etc.)