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performance portfolio .pdf

Original filename: performance portfolio.pdf
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Puddle  Piece  2015-­‐16  –    
I  swapped  the  water  in  two  puddles;  one  in  Brierfield  town  centre  and  one  in  
Brierfield  Mill  in  January  2016.  The  performance  took  place  over  two  days.  
First  conceived  in  mid-­‐2015,  my  initial  intention  was  to  move  a  naturally  formed  
puddle  to  a  new  location  by  bottling  up  the  water  and  then  pouring  it  into  a  new  
spot.  The  end  product  would  hopefully  be  uncanny  as  the  puddle  would  be  ‘the  
same,  but  not’.  Originally,  I  had  intended  for  the  piece  to  be  a  photographic  
project  in  which  I  would  take  photographs  of  the  images  reflected  in  the  puddle,  
in  its  original  place  and  new  location.    
However,  as  part  of  my  CRASH2016  residency,  I  decided  to  swap  two  different  
puddles,  rather  than  just  move  one.  Swapping  rather  than  just  moving  made  
more  sense  in  this  context,  as  I  was  keen  to  connect  two  geographical  places  that  
are,  to  those  who  live  in  the  town,  normally  divorced  from  one  another  –  the  
town  centre  and  the  huge,  derelict  mill  on  the  town’s  outskirts.    
While  the  process  of  bottling  up  the  puddle  in  the  Mill  was  without  an  audience,  
the  action  became  instantly  a  point  of  interest  when  carried  out  in  the  town  
centre  and  became  a  performance  of  sorts.  It  lasted  under  ten  minutes.  

1.  Image  of  the  live  performance  in  Brierfield  town  centre,  January  2016.  



Research  photograph  taken  of  puddle  reflection  in  Northern  Quarter,  
Manchester.  November  2015.  

Head  In  Hole  Piece  2016.  
I  hung  from  a  wall  of  Brierfield  Mill  with  my  head  in  a  large  hole  for  five  minutes  
at  a  time  at  January  2016.  
Frustrated  by  the  process  of  attempting  to  ‘engage  with’  Brierfield  Mill  as  part  of  
CRASH2016,  I  had  a  strong  desire  to  simplify  the  conceptual  process  and  just  get  
inside  the  mill  in  some  way.  I  saw  this  hole  on  the  first  day  of  the  residency  and  
decided  to  put  my  head  in  it  as  this  seemed  to  satisfy  the  desire.  Using  a  climbing  
harness  and  wearing  a  blue  boiler  suit  (both  of  which  were  found  in  the  mill),  I  
hung  myself  from  two  nails,  hammered  into  the  wall  above  the  hole,  and  rested  
about  a  foot  from  the  floor,  with  my  head  in  the  hole.  The  piece  was  performed  
on  four  separate  occasions  for  about  five  minutes  at  a  time.  I  would’ve  liked  to  
perform  for  much  longer  but  the  harness  was  ill  fitting  and  began  choking  me.  



Canary  Wharf  Cleaning  Piece  2015  
The  performance  is  described  in  detail  in  my  personal  statement.    
However,  it  is  essential  to  mention  that  these  photographs  were  taken  after  the  
performance  took  place  and  are  early  experiments  into  alternative  ways  of  
documenting  live  performance.  Taken  in  Devon  about  6  months  after  the  
performance,  these  photographs  do  not  fix  the  work’s  meaning  or  attempt  to  
accurately  record/document  the  live  performance  itself.  Instead,  they  simply  
illustrate  the  performer/objects/costume  used.    


Motorway  Piece  2014-­‐2015  
Motorway  Piece  was  first  performed  in  October  2015  on  the  verge  of  the  M60  in  
Stockport  town  centre.  The  performance  involved  preaching  to  the  road  by  
reading  from  my  notebook.    
The  following  photographs  were  taken  as  part  of  research  into  a  performance  
beside  the  M60  motorway  in  Manchester.  I  have  been  working  with  the  idea  of  
carrying  out  performances  in  settings  and  situations  where  the  audience’s  time  
and  movement  is  governed  by  the  rules  and  pressures  of  this  certain  situation.  
These  rules  and  pressures  have  implications  for  the  audience’s  experience  of  the  
performance.  For  example,  when  I  performed  on  the  hard  shoulder  of  a  
motorway,  the  audience  in  the  cars  were  only  able  to  see  the  performance  for  a  
couple  of  seconds  as  the  rules  of  the  motorway  dictate  that  they  cannot  pull  over  
except  in  emergencies  or  particularly  vary  their  speed.  The  overall  intention  is  
that  the  audience  will  become  more  aware  of  these  rules  and  pressures  as  they  
are  being  prevented  from  witnessing  more  than  a  couple  of  seconds  of  the  



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