I should probably change the part of this page that says that I update this blog once a month as it's been getting to be more like once every two months. I'll put that on my to do list for my next round of web-updates if the pattern continues through the Fall.
Meanwhile, it's the first rainy day we've had all Summer (at least that I've been home for) so I'm taking the gloomy light as an excuse to turn inward a little bit.
True to my word last month, I did do some culling of my featured pages and added new pages for two 2016 projects (Petitions to Poseidon and Mix & LOVE) and will likely add another one or two soon—as imagery rolls in. I've also just started looking through my older video projects (thus the still above, which is from a piece I'll be recycling for an installation in August called Microburst.) I still haven't started the studio project—oh wait!—that's not true, I actually have! I took one swipe at it in late-May. I'll see if I can find an image and put it at the bottom of this post.
At the moment, when not overwhelmed by the fact that this week will involve the installation of pieces in three different shows before it ends, I'm thinking a lot about collaboration.
I had a very interesting experience this month producing a piece of mine remotely at Flesh Crisis, a performance art festival in Kansas City, MO that I wasn't able to attend in person. It was the most distant I've ever felt from a project, but also opened up a whole bunch of new ideas about letting someone else interpret my work. It's also helped me think about an upcoming role I'll be playing as an interpreter of someone else's ideas in a month or so...
I'm also currently working on two collaborative projects—one that is a second iteration of the project I mentioned last time, which got some nice press, and went really well, but which I'm not ready to talk about or represent here in any detail yet because it's still in a state of great evolution—and another that is for an event mid-August. This one, Warren, Echo, Salt, is a piece I'm creating with Caitlin Foley for a program called "Inside/Outside" on the Boston Harbor Islands. All of these experiences are pushing me to think harder about why I often prefer to develop an idea with someone else rather than by myself, but also about what makes me happiest and least happy when I work this way so that I can get better at it—refine collaboration itself as one of my mediums.
In addition to the collaborative stuff, I'm doing a tiny (super, super tiny) performance piece called I want to feel comfortable here, but I don't think I ever will. at the end of this week as a part of the show "You Think It's_____, But It's Really ______." and then the ephemera from the performance will remain in place until early September.
I think that's everything except this, as promised above: