In my long-term practice as performance-artist, artistic researcher and teacher, I consider a performance and its various forms of representation and meaning as a catalysator for creating ‘new contexts’. By context I mean the framing of a specific condition in which the performance is able to unfold and manifest its multiple connections, be it with the place in which it is situated or the agencies involved in the process. Through this perspective, I have been exploring a wide range of contexts beyond the so-called ‘white cube‘ or ‘black box‘. These places, such as an abandoned factory, heritage site, public square or even a supermarket, have turned into revolving spatial and social contexts in which I can either investigate other types of the performer-audience relation or the meaning of performance itself. To what extent can the boarders between ‘what is’ and ‘what isn’t’ a performance be dissolved and (re)configured? How can a performance affect an environment and at the same time adopt other forms of agency? are some relevant questions.
With this in mind, I have been using the sense of unexpectedness, not-knowingness as well as absurdity as an artistic strategy for changing the connotation and functionality of such places in a subtle way. How this looks when the performing body (or bodies) is in action, isn’t easy to say. But for those who get drawn into the situation, they get a feeling that something may be different to the norm… To sum up: all these aesthetic, social and spatial experiences have culminated in a form of site-specific or I like to say, site-responsive performance practice that is wholly concerned with the implications of the body/space relationship.