Holding tight to a teetering edge, as a performer I pursue the unknown and impossible. My durational performance work suspends time and extends the tipping point—the moment right before collapse, dangling, almost falling, almost overflowing. The familiar unsettles, evoking pangs of tenderness, or devotion, or longing.
In developing new projects, I find inspiration in the immediate surroundings: the place, its history, the people there and the remnants on hand. As a result, I employ ordinary things, amplified or abstracted, and routine tasks, repeated or slowed. Sculpting space and material to create heightened sites for exacting gestures, I offer an image of a woman made just slightly larger-than-life, often weighted by or tethered to oversized sculptural garments, or confined within minimal found object installations. The transformation of the physical material over time, including the give of the fabric, the drift of the piles, or the wilt of the body posture, serves as motive and metaphor for other transformations, both conceptual and contextual.
Perhaps a type of alterself is evoked; the woman of the performance has a particular clarity of focus, on the task, on the circumstance, on the public, that is other than my own. I conjure an alchemical intimacy by imprinting the space, moment by moment, hour after hour, with simple, ceaseless effort: sewing, sifting, pointing, licking, kissing, laughing. In my work, in every way, I seek to be made wholly vulnerable and inexorably connected.