[bodies of work IN PRESENCE]
a moment of
nakedness
crisis
connection
porosity
exposure
rupture
immersion
collapse
openness
reckoning
merge
re/union
[INTIMACY]
between SELF and ...
SACRAMENT
[offerings, invitations,
and attempts]
[ECTOPIA] • [Novena] • ["To the birds"] • [Stolen Prayers] • [Poetics] • [Services: Welling Up] • [Chamber] • [Confessional]
SITE
[history, place,
and memory in matter]
[Restoration] • [Amandus Unearthed] • [Cursory Monuments] • [Reenactments] • [The Ink Well] • [Wake]
STRANGERS
[the other, the unknown,
the unseen, the unspoken]
[Bedtime Stories] • [Concretion] • [The Leftovers] • [Deathwatch] • [A Small Thing] • [Transference] • [The Work] • [Open Seclusion]
[offerings,
invitations,
and attempts]
SACRAMENT
ECTOPIA
Ectopia: A Travel Guide to Displacement
Performative and Evidentiary Monograph
(352 pages)
This publication, a collection of records from an artistic research entitled: the body in control of losing control, in addition to experiments conducted by the artist, includes invited contributions from 23 interdisciplinary scholars, clinicians, experts and artists;
This book playfully chronicles the invented concept of Ectopianism: the use of the body as a vehicle for the displacement of self through active engagement with fear and the unknown.
Project hosted by the Advanced Performance and Scenography Studies (a.pass) an artistic research container, formerly attached to The Royal Institute for Theatre, Cinema and Sound, Brussels.
Novena
Performance Duration: 9 hours
In this altered form of the novena prayer structure, the artist walked barefoot for nine hours up and down Prague’s tallest hill. Each piece of glass, rock or other objects that stuck into or onto the artist’s foot were collected and archived. She carried in her mouth an icon of "the infant Jesus of Prague", along with a prayer written and dangling out of her mouth on a tag. This signaled to others not to speak with her, and also commented on the strange nature of spiritual materialism (and also art as phenomenon, for a substantial proportion of the history of art is in fact religious or ideological iconography). These slides show the objects collected during each hour and the skin and scabs removed from the feet after the final hour.
“Tell your truth to the birds,child. They are soul without souls, but our breath is identical”
In this interactive installation, viewers were invited to make confessions to live birds through a glass speaking-funnel. This species of bird is particularly attracted by the vibration of the human voice, and thus instinctively moves to the perching bar directly in front of the funnel to "listen".
An audio track playing the sound of bird calls imitated not through vocalization but merely through rhythmic breathing accompanied the space to prevent any possibility of other gallery-goers over-hearing individual confessions.
This piece asks if a witness or confessor must understand, in a rational sense, in order for the transmission to feel truly received and for the one confessing to feel unburdened or absolved.
The Stolen Prayer Series
This series of scanned objects document interactions at 10 catholic churches wherein the lighting of a candle is observed as a vehicle of prayer. The prayer is spoken, the candle is lit, and it is thought at least symbolically that the smoke ascends towards the heavens carrying with it the prayer towards God.
ACTION: The artist enters the church, sits in a pew and waits for a parishioner to light a candle in prayer. Once they rise from the kneeler the artist gently approaches and asks them about the nature of their prayer. After they leave, the melted wax of the prayer candle is emptied onto an acrylic disc and archived. 4 prayers are collected from each church visit, and only from visitors willing to divulge their exchange. The archive contains 40 circular 'slides'.
KEY - from upper left to lower right:
-
a wife asks for permission to leave her husband
-
a student asks for clarity of purpose
-
a man asks for courage to face his death
-
a mother asks for a viable kidney for her son's transplant surgery

The Poetics are Always Inadequate
“For you were within me, and I was outside myself; and it was there that I sought you.”
Saint Augustine
(Confessions, Book 10 Chapter 27)
THE ACT:
After entering the church,
chisel off a piece of stone from the building and wood from a pew.
Place both in a corked vial.
Kneel on the pew and insert the vial.
Masturbate until reaching orgasm.
Preliminary information:
These recordings document an act repeated in three churches* in Venice, along with some personal conversation with a dear and trusted friend.
(please note that the audio accompanying the video is of a sexually suggestive or explicit nature)
* Madonna dell’Orto (Cannaregio), Santa Maria Del Rosario (Dorsoduro) & Cattedrale di Santa Maria Assunta (Torcello)

Services: Welling Up
Performance Duration: 15 x 1-hour performances over 5 weeks
Hosted by Sullivan Galleries
During performances hours, the viewer is instructed: “Hold your hand over the wsihing well’s center. When your palm has collected, only then continue behind the curtain.” The lantern above the well contains an IV bag of dripping wine, which collects in the hand of the viewer. Once seated behind the curtain, the artist pulls the viewer's hand through the small opening, washes the wine from the hand with a linen cloth and massages the hand carefully with oil. These cloths are collected outside of the performance room as an archive of prayer-wishes.
Chamber
The viewer is instructed to walk over the bridge and enter the house alone, sit at the desk and use the provided ink and paper to write a confession – specifically something they have never articulated to anyone (preferably including themselves). They then scroll the page and pushes it through a hole in the floor where the ink is immediately dispersed into the water within the basin below. The ink-water travels through the pump and fountainhead, spilling directly over the roof of the little house and accumulatively staining the cloth walls of the house red over the course of the exhibition.
Confessional
These vials contain correspondences between the artist and 167 registered sex-offenders, including 32 hair samples. 1,000 letters were sent to registered sex offenders (addresses found via internet, many of whom were still incarcerated) offering an opportunity to expressed unresolved issues surrounding the event of their registration. If the offender felt remorse, they were asked to include a cutting of their own hair as a symbolic gesture. Letters were collected over 4 months in a PO Box then sealed and hung from a tree in collaboration with a women’s shelter.
SITE
[history, place,
and memory in matter]
RESTORATION
(with the accompaniment of Juliana Pivato; and assistance by Amber Ginsburg and Briana Schweizer)
Hosted by the Chicago Cultural Center
Over the course of one month, the artist spent 24 hours at the Pilgrim Baptist Church in Chicago’s South Side. The structure suffered a catastrophic fire in 2006; only the stone and brick façade remains. The artist treated the architecture as though it were a person in a state of severe suffering, consoling with words and treating it with compassionate touch while wearing white archiving gloves to collect residue from the fire and environment.
A public performance was then conducted to wash each glove while collaborator Juliana Pivato sang a gospel song, "Peace in the Valley", written by Thomas Andrew Dorsey (the music director of Pilgrim Baptiste, and said to be the originator of the genre of Gospel); it was sung repeatedly throughout the performance while educational leaflets were distributed and donations for the Restoration Fund were collected.
Amandus Unearthed
(with collaborator Nicolas Yazgi, and photography Andrei Jewell)
Hosted by STAM - the City Museum of Ghent, BE
During these seven days, the performers wandered the streets of Ghent
under the visage of anachronistic peregrine seekers, drawing the objects of their curious, portable universe on a fragile wooden wagon behind them - in a search of the unseen: places which evoke genuine hospitality, generosity or gratitude throughout the history of the city.
Their companion, filmmaker Andrei Jewell, captured the gestures and liminal moments in a style of iconographic painting.
The parcours was recorded by an accompanying scribe and shared on the project’s page nightly, along with the artists’ reflections, observations or impressions of the day, and an invitation for the participation of the public.
Following the seven days of connectivity and care, the artists hosted an open vigil to invite the public to join in sharing stories of their city.
This work is named Amandus, after the first Catholic settler of Ghent. Amandus stems
from the Latin root amāre, meaning “worthy to be loved”. He is a reminder that every
moment of sincere participation in the world is an opportunity. During an eco-political climate of perpetual speculation, skepticism and crisis, it is possible that love becomes the most radical act available.
Venues (Gent, Belgium): St Bavo’s Abbey, The Nobertine Chapel, Abbey of Our Lady, The Nun’s Forest, The Great Beguinage, Stadsmuseum Gent
The Act:
-
Draw the perimeter of a ritual space (the temenos)
-
Attempt to foster a receptive state in which to communicate with the space as though it were a person
-
Respond to the perceived dialogue with the space by performing a gesture with materials found only inside of the perimeter
-
Record observations of the process and gesture
-
Close the ritual space
This work was performed in formerly religious spaces, which have now been appropriated for either cultural or therapeutic use.
Wake
Hosted by CoProsperity Sphere at The Benton House and Concertina Gallery
Viewers are asked to kneel in front of the casket, while the artist is lying inside with her eyes closed. Upon kneeling, her eyes open and stare directly at the viewer. The lights on the casket come on and are dimmed and illuminated in the rhythm of the artist’s breathing until the viewer stands up.
This work was created in response to the Sainte Roseline of France as part of an ongoing research on saintly remains as active and living depositories of prayer (a continuity of human-made-object confessionals in the series, 'alternatives to the talking-cure'.)
ABOUT the SAINT:
Born at the chateau of Les Arcs on 27 January, 1263, Roseline was the eldest daughter of the Arnaud de Villeneuve, wealthy landlord and mayor of Les Arcs sur Argens .
She was a very generous child, contrary to the acquisitive spirit of her family, and secretly distributed food from the chateau reserves to the local poor people.
One day her father caught her sneaking out with her apron full of bread. When she was forced to open her apron to reveal its contents, the bread miraculously turned to rose petals and blew away - the Miracle of the Roses. The next day, she entered the convent and eventually became Abbess of the Chartreuse de La Celle Roubaud.
Roseline died on 17 January, 1329 at the age of 66. Five years later she was exhumed and discovered to be entirely intact, her eyes open and perfectly clear. The Bishop of Digne was so struck by the beauty of her eyes, they were removed from her body and placed in a separate reliquary. Her body still lies in a glass case, otherwise in tact at her Chapel in Les Arcs.
Over the last 600 years, countless votaries have reported praying to the body of Sainte Roseline, only to see her eyes open and look at them in quiet acknowledgement of each prayer.
Reenactments
(in collaboration with Meredith Zielke)
Work 1: I am seepage and tender and spread (video installation: 15 minutes)
from a re-staging and reenactment of two medical illustration from the museum’s archive (a small detail of a 19th century painted depiction of gynecological surgery.
Work 2: This is all I can offer
(video installation: 5 hours)
from a re-staging and reenactment of a medical illustration from the museum’s archive (19th century spinal traction device.
Hosted by The International Museum of Surgical Science
The Ink Well
Hosted by The Jane Addams Hull House Museum
Performance duration: 2 hours
This work addresses Jane Addams’ use of contextually masculine-attributed forms of agency - writing, public speaking and publication - to achieve an agenda associated with then-feminine priorities of the time: poverty, civil and cultural liberties, education and childcare (context: mid-19th century America).
During the performance, while connected to an electric breast pump, the artist sat in front of a portrait of Jane Addams and wrote an improvised and continuous letter detailing the ways in which the artist strives to connect to the reality of Addams' commitments, her sacrifices, and her determination in an effort to introduce the same level of investment and resolve in her own life.
Cursory Monuments
Memorializing Chicago’s Disasters -
A performative and participative guided tour memorializing Chicago's history of diaster.
Hosted by The Chicago Cultural Center and The Synesthetic Plan of Chicago
This project sends viewers on a pilgrimage throughout the city to sites of local tragedy, offering the history of the urban area and inviting an act of acknowledgment for the casualties and aftermath of each incident. Visitors may pick up a map at the exhibition which includes directions to each site, as well as the story behind its importance. Also included are small offerings to leave behind at each location in order to mark the loss incurred by each event.
This project was accompanied by a parallel focus on the Great Fire of Chicago, wherein the artist performed a vigil walk for each of the days of the great fire to collected dirt from city sites affected and collected them in reliquaries with the conviction that matter retains memories of events and contains material intelligence of the happenings to which it bears witness.
STRANGERS
[the other,
the unknown,
the unseen,
the unspoken]
Bedtime Story
Series
Performance for an audience of one
(performed 13 times in the homes of 13 strangers, over a period of 6 months)
The Score (Preparation):
-
The artist posted an ad on an internet classifieds server offering to write and read a bedtime story to a perfect stranger
-
For each volunteer, then conducted an email interview regarding their childhood and adulthood fears
-
The artist wrote a bedtime story based on the resolution of these fears
-
Both set up an evening appointment to arrive prior to bedtime for the encounter
The Score of the Encounter:
-
Asked the volunteer to get ready for bed
-
Made them a cup of herbal tea with honey
-
Heated a clay brick in their oven; wrapped the brick in linen and placed it under their sheets at the foot of their bed
-
Lit a small candle on the nightstand
-
Asked the volunteer to lie down and tucked them in
-
Sat next to the bed in a chair and read the story aloud
-
Blew out the candle and left
(all of the volunteers, incidentally, fell into 3 distinct categories: socially isolated senior citizens, parents of grown-up dependent children with mental or physically disabilities - writing on behalf of their child, and unmarried men expecting an anonymous sexual encounter)
This work marks the beginning of a decade of practice dedicated to an audience of 1.

An Act of Concretion
Performance Duration: 6 months; 6 hours; 158 days
Hosted by the Bond Chapel
The Act:
-
The artist sent 2000 letters to priests offering an anonymous opportunity to unburden themselves of a story heard during confession
-
Received 158 letters of repeated confessions
-
Burned each letter to ash
-
Compressed the ash into beads
-
Shipped the beads to a mussel farm for insertion
-
Waited
-
Removed the pearl-covered ash from the mussels
-
Drilled the pearls for stringing
-
Pearls were strung by the public during a live performance, and then worn by artist for 158 consecutive days, during which she was in constant contemplation that every word, every breath, all food and drink all traveled through the circle of pearls around her neck.
Dividing the Leftovers
This performance involved serving pie to gallery goers according to the following script:
SERVING Script:
“By receiving a piece of apple pie for consumption and enjoyment, you must agree to throw the ceramic dish once the slice has been finished. Throw it hard against the wall until it shatters.
Before doing so, please note the unique pattern of your dish, as all dishes are unique.”
The viewer is served a slice of pie with or without whipped cream, upon an individual ceramic saucer.
POST Script:
After shattering the dish, individuals are instructed to collect a shard of their unique dish. It is then placed in a sandwich bag with both the recipe and the history of the pie for the viewer to take home.
The HISTORY of the PIE:
A former patient, treated for acute postpartum depression 18 months ago, is awaiting her first appearance in court today. I received a call from her current therapist on Sunday, November 1st, requesting a consultation regarding a blackout the patient suffered several days prior. The patient, while sitting at the dinner table with her mother, while her infant child was asleep in the next room, reputedly threw her plate against the wall, picked up a shard and began stabbing her mother in the chest. Her mother has been in the ICU until this morning. She has survived the attack but due to her condition has been unable to describe the event. My former patient did not recall what happened, except that she “came-to,” saw her mother was bleeding and unconscious, then immediately called an ambulance. Her current therapist asked for assistance in restoring the patient’s memory of that evening. I responded by asking the patient what she and her mother were eating at the time. The patient answered: apple pie. I then requested that her therapist ask the patient for her mother’s apple pie recipe. Through the process of recalling the recipe, the patient’s memories returned. As this session was recorded, I obtained her mother’s recipe and used it to bake these pies.
The Deathwatch
… because I could not touch what did not belong to me. But the vigil tick spoke, saying, “We must all swallow ourselves whole. Whatever remains will go on without our permission."
Archive of 119 tissues accompanied by a sound installation
The Act:
The artist visited 19 funerals of strangers
She observed mourners silently and anonymously
She discretely took written notation of their body language, gestures and movements
She covertly collected used and discarded tissues
She commissioned a biochemical lab to expose the tears and mucous with metachromatic stain to render mucus visible (appears as light purple on the tissues).
The archive is accompanied by a sound installation of the artist quietly reading her notes of the body language notations.
Such a small thing...
Such a quiet disaster.
Performance (1 hour); Video (11 min)
Hosted by Rymer Gallery
Before witnessing the scheduled slaughter and butchering of this sheep the following morning, and in full knowledge of its imminent death, the artist tries in full sincerity to allow an emotional connection with the animal to develop and an attachment to grow.
Her aim, over the course of an hour, is to find and sustain eye contact with the sheep, and to observe any resistances, distress or blockages that arise in the efforts to let this creature and its death enter her.
Transference
Because when I promised to cover every inch of you with my mouth, I never imagined you would stay so still for so long.
Performance Duration: 3 hours
The experience of affection offered and returned is a known comfort. Equally familiar to most is the sensation of a caring gesture rejected. The choice to give, receive and reject another’s tenderness reminds us of our own agency. This piece questions the line of exchange by asking: What does it mean to offer affection to an entity that cannot return it? What does it mean to be affectionate with something that cannot pull away?
After working as a therapist in both inpatient and outpatient psychiatric care, the artist applies her experiences in acute psychological intervention, and her ongoing interest in the transmutation of mental illness while exploring issues of trauma, recollection, intimacy and transference.
The Act:
The floor is covered in flour. The artist's pockets are filled with charcoal. The artist's lips are covered in vaseline.
The artist reenacts a compulsive behavior exhibited by a former artist patient of a psychiatric hospital: the caressing and kissing of the walls. The patient engaged this act passionately with her eyes closed for hours. In this performance, the artist does too - in an earnest attempt to better understand the universe of her patient. The materiality of the black and white powders tracks both the passing of time, and the blending of these two worlds - the reality in which her feet are grounded, and the transference she pursues in the quest of understanding another person's most intimate inner experience.
The Work
A collaborative performance with James Kubie; and with the assistance of 6 other performers.
Hosted by The International Museum of Surgical Science
Performance duration: 3 hours
This interactive performance involved two stations: mending and archiving.
The Act:
-
Artists taught viewers traditional suturing on slit grapefruit slices
-
Artists asked the public to speak their medical history into the slice of fruit while mending it
-
Slices were placed in the open mouth of the seated artist
-
Sutures were ripped out and exhibited
-
Juice was pressed out by the artist's tongue and swallowed
-
Remaining pulp was removed and exhibited next to the corresponding sutures as specimen, and an alternative form of medical record of each viewer
This interactive performance examines the personal history of woundedness. It lends each person the new ability to mend any recollection of pain attached to the experience or witnessing of physical injury. By learning the traditional, and now symbolic skill of suturing, the participants are given a new insight into medical technique, and are included in an act of healing. The flesh of this newly mended fruit, now imbued with the memory of brokenness, is consumed in order to release that history. The performer relies upon her body to digest and release any articulated trauma.
Open Seclusion
Performance Duration: 2 hours
In an attempt to induce anxiety and frustration, the artist uses immersion therapy for the treatment of her own phobia, blindness.
She is locked into a blindfold that cannot be removed without a key and searches through 4 beds, attempting to find the only key of over 300 that can unlock her.
Assisting performer, Stephanie Victa, invites audience members to assist her in the search and collection of keys.
In this context, the theatricality of the frame provides sufficient anonymity and distanciation for the artist to allow herself to feel fully her emergent panic, and for the oublic to sustain an ambiguous relationship with her urgency in the search.
She never found the key and had to be cut out of the blindfold following the 2 hour opening.
STORY
[beyond the limits of personal pasts and impersonal presents]
Wisdom Weaving
I cannot write about this in the 3rd person, nor as a performance work, though it is the most important art I've made in my life.
This project involved going for a period of 7-10 days to stay with a person facing a terminal illness, often in hospice, though sometimes in the comfort of their home. There, I would interview them. I would be with them as much as their bodies, their pain and discomfort, their exhaustion would allowed. We'd speak about their lives, but this was not with the purpose to create a memoir. I wasn’t interested in timelines or accomplishments. I was working with them diligently to retrace all of their most powerful, potent, important wisdom - so that we could, together, write a text that could be handed to their loved ones after their death.
I proceeded at first with a careful methodology... but then eventually I followed my intuition. We’d talk about everything: the beautiful, the brutal, the regrets, the triumphs, the things they thought they’d buried for good. I’d ask questions no one had asked them in years, maybe ever. Sometimes we cried. Sometimes we laughed when it didn’t seem like we should.
We all know that the hardest moments are also often the ones most ripe with learning. So I held their hands and listened, and listened, and listened - and led them down passages that had often been untraveled for decades.
While they slept, I’d listen to the recordings, transcribe every word, and start shaping it into something clear, sharp, true. On the last day, we’d sit with the text together, edit it, make sure it felt right. Before I left, they’d tell me who the words were meant for—how many copies, whose hands it should land in. They’d pass my contact info to someone close, so when the time came, I’d know.
Most people leave behind a legal will to divide their possessions. But what about the things that can’t be held? The lessons etched into the heart, the moments that broke and remade them, the truths that we want to outlast us? That’s what Wisdom Weaving was for—to hold what can’t be held, to carry what refuses to be kept, and to offer it back as something which endures.
For the sake of privacy, I cannot share the documents themselves. The utter anonymity of each participant is sacrosanct. This image to the right is only here as indication. I consider myself - the shape of my soul - to be, ultimately, the only documentation of this work beyond the original document.
I look forward to re-engaging this work again in the near future.
