CB
LIVE ART
Using my body as a performative element in art maximises immediacy: there is no distancing between my self and the art object here. I find it can be a raw and vulnerable experience; but it is invigorating, too, to be consciously present in my “aliveness”.
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Performance with wire & modroc jester hat.
Performance inspired by Roberto Assagioli's Psychosynthesis theory.
Performance with audio soundtracks of my self-destructive and self-believing thoughts.
Interactions with a telephone: curiously, like I've never seen it before.
Interactions with a telephone: receiving the invitation that lies within it.
It's all about my feet.
Ten minute improvised performances inside a custom-made multi-zipped fabric bag.
Ten minutes non-stop verbal improvisation, a rhythmic stream-of-consciousness
Maintaining equidistant bodies in a public space Photo: Mark Stewart-Stanley.
Performance with butternut squashes.
Screen shot from video footage by Alex Dickerson.
"The artist is the origin of the work. The work is the origin of the artist." Live performance 1 hour 25 minutes. Photo: James Dixon
"The artist is the origin of the work. The work is the origin of the artist." Live performance 1 hour 25 minutes. Photo: Ian O'Sullivan.
Photo: Alex Dickerson
Photo: Alex Dickerson
Photo: Kay Aitch
Photo: Kay Aitch
Photo: Kay Aitch
Photo: Kay Aitch
Photo: Kay Aitch
Performance in shop window, part of Illuminating York festival. Photo: David Galsworthy.
Improvised movement performance. Photo: Milena Dragic
Performance in Exhibition Square, York. Part of Day of Clay organised by Centre for Ceramic Art and York Art Gallery. Photo: Alex Dickerson
A day of movement inspired by Frank Willens.
Video footage
Engagement
Two days with a telephone.
Ambidextrous
Two hands. Two graphite sticks. Two pieces of paper. No eyes.
As It Happens
Snippets of live performances at APG Gallery, Sheffield April 2014