I am an artist, multi-instrumentalist, researcher, broadcaster, composer, conductor, and founder of Peckham Chamber Orchestra (est. 2013) and Chiron Choir (est. 2022).

My broad practice is connected through a central spine of inclusivity and decolonization. Myths, (both ancient and modern), word-play, appropriation and my own voice (in song) are my materials.

I am aspiring towards a totality of the performative experience – incorporating language, music, location and technology (lyrics, sound, site, documentation (content, performance, signs, devices)).

Documentation allows performance art to exist. I employ documenting devices as active props in the live moment. The camera, in all its forms, is now fully integrated into daily life for the majority of the (Western) world. The camera’s role, and its view-point, in my performances are essential to both the content and the afterlife of the artwork.

Music transcends meaning. Music disrupts time and space. Music is an integral part of my practice because of its excessive propensity to effect and affect audience and performer. Opera is the ultimate art form to express this excess. The unamplified human voice in song has an unrivalled ability to speak to the nervous system. Serenading, and performing alongside, technological devices is my way of questioning our relationships with them. Song allows the aesthetic appreciation of the voice as a medium. The content (language obfuscated by pitch) is secondary to the format.

Language is an artistic medium – language is our only decipherable mechanism to render the internal external. It is a system of codes that I constantly play with in order to confound and reveal the relationship between language and action. The vast majority of my titles are puns.

Foxy Moron, my alter ego, is summoned to epitomise the antagonisms of my performative investigations into language and action. Foxy Moron re-enforces my status as a living pun and armours me with the power of physiological disguise.

All content copyright © Hannah Catherine Jones 2016

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