04/07/20 The history of why and what I do, relationship to audience, and how that can manifest in isolation/lock-down/Zoom.
The discomfort of being with other people was so overwhelming in my youth and in the art school environment that I had to share it with the audience by the extreme "action" or situation of making op art and having myself suspended in mid-air. This is the SPACE element, of answering or exploring the eternal question of "where do I fit in?". In terms of TIME I looked at the friction between past and future; antiquity, history, myth, space-age, time travel. The result was therefore often surreal. So this is why it's surreal and this isn't quirk or accident. DURATION was often long: many hours over many days to show that this situation is eternal for me and the AUDIENCE visits my eternal time-line. Folklore, as I got a bit older, fulfilled these needs as a home for my identity with history and time-line, and music expresses a personal connection and shift from physical position as expression to musical, visceral and emotional as expression, spanning and short-circuiting the past and future. Folkloric actions are fitting motifs that use tradition and its mutation over time that partly echoes the surrealism that resulted from the practice of my youth.
So where am I and what am I feeling now in lock-down, in the peculiar performance space of my attic, connected through the window to the wormhole of Zoom? So quantum in its connection to the multi-dimensional universe of infinite home computer screens?
And what of my own time in which to make or perform my work, or even thoughts? These pockets of time that are tiny pin-pricks in a vast fabric of office work, commitments, family life, childcare, education of my daughter, housework, exercise, self-care?
Time is slippery. Riddle the earth. Prick the holes in the dark matter. Poke thought through them in long ribbons.