Output details
35 - Music, Drama, Dance and Performing Arts
University of South Wales
Deviant Chores
Deviant Chores was selected for exhibition via peer review at:
* National Eisteddfod, 30/07/2011-06/08/2011 (www.peoplescollectionwales.co.uk)
* Wunderland 11: Tactile BOSCH Gallery Cardiff, 09/03/2012-30/03/2011
(http://tactilebosch.co.uk/2012/01/wunderland-2/)
* Hored & Borny: Explorations of seduction and sexuality through lens-media and live art, Performance Space, Hackney Wick, London 20/07/2012
(https://www.facebook.com/events/464322490246955/)
I conceived this practice-led research project as an experiment in developing a screen vocabulary directed by the presence of the artist's body and the shift of the filmmaker/artist from behind, to in front of the camera. Extrapolating concerns about the value of the domestic realm that have been previously explored in still life image construction (Winifred Nicholson) and performance art (Bobby Baker) the research explored the placement of my own body as the animating agent of the screen tableaux.
Situated between live performance and still life visualisation, the research sought to disrupt the objectification of women's subjective relationship to domestic space, asking: how might the confines, restrictions, rhythms and routines of the domestic environment present opportunities to develop alternative screen subjectivities that contest and exceed redundant representations of the female form on screen?
I was responsible for managing the project and individually produced a series of 8 film tableaux. The project had a collaborative dimension. This took the form of parallel reflective practice cycles with Aparna Sharma (UCLA) in which we each had independent research aims and where we would each give the other conceptual challenges designed to stimulate the articulation of our embodied findings-through-practice. The dialogues drew in voices of a range of women artists and filmmakers whose work has activated domestic space as a site for the performance of personal narratives and embodied experiences (Jayne Parker, Carolee Sheeman, Shana Moulton). This was disseminated in a co-authored conference paper at Radical British Screens (UWE, 2010) (see portfolio for details).
