Will You Promise?, White Rabbit, an open air art project, Lower Economy, NS, 2010
Calling out questions about promises between people while swinging in a gully with a cape (like a child). Innocence, hope, belief structures up in the air.
Where the Bee Sucks, 2010, one hour
About how we inhabit our lives and about the particularity of place in our psyches, including video and spoken text with singing, sound making, and original soundtracks by composer Ian Crutchley. The whole reflects sensual, emotional and psychological experiences where verbal and gestural languages intersect in a spatial and sensual world of communication, inclusive of the non-human world. The performance’s allegorical format stretches over a twenty year period in six chapters, including both quirky and serious elements of life.
Flying into the Wind and 1+1=, Cabaret, Symposium of Art, Sackville, NB, 2010
Language as hidden, revealed, and communicated any way possible
Remember, Shangri-La Studio Exhibition, Beijing, China, 2012
Chanting + writing “remember” with red soil carried from the Tantramar marshes near the Bay of Fundy where I live. The performance was about carrying memories, being attached to the land, and not forgetting. The final gesture of the performance was eating the soil.
Calling the Cuckoo, 2014, 7a*11d International Festival of Performance Art, Toronto
Photographer: Henry Chan
A series of short and long actions about language as body, voice, space and movement from the personal perspective of being a mature woman. Each performance short builds into the next using chanting, song, extended vocal techniques, speech, actions from daily routines and life cycles where verbal and gestural languages intersect. From building a poem phonetically through repetitive song, reading a story backwards, thumping my chest to force sound out, bodily spelling words, telling a story with words and onomatopoeia effects, to dancing with paper cut-out words/sentences while singing.