STATEMENT

Integrating performance art, video art, and live sound, my recent works address the tenuous relationship we have with language in our attempts to relay our experiences of the world—a classic apples-for-oranges quandary. I parallel our immersion in the landscape with our immersion in language, portraying the mouth as a space of both lofty construction, and great discomfort. From here, I merge electronic music and process-oriented performance art to deliver a hybrid spectacle that recalls Marina Abramović and Joseph Beuys as much as it does Devo.

I perform musically in front of a video projection that also features me; my process-engrossed body executing repetitive tasks while situated in the landscape. In the video space my body is a non-theatrical activator or instigator; a ritual-betrothed body whose preoccupation with the landscape serves as a metaphor for the drama surrounding our inexorable confederacy with language.

In contrast to my composed presence in the video, I directly engage with the audience during the live performance. Intermediating the space between the audience and the metaphor, I become their zealous tour guide for the environment established by the video. My calculated and didactic delivery punctually reframes the audience’s experience—revealing that something greater is being communicated. I parallel art and music, both time-based fields of study, “piggy backing” performance art on top of music because of music’s readily accessible nature. By hybridizing the two approaches, I instill a more palatable tempo into the repetitive action of performance. I seek to sustain the critical conceptual depth of process-oriented work while simultaneously appealing to the open mind and bodily instinct people have for rhythm.