I am dedicated to the moment of live performance – the uniting of performer and audience in a contract of time and space.
I am aspiring towards a totality of 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. It disrupts time. 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 attack the nervous system. Serenading 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, she re-enforces my status as a living pun and armours me with the power of disguise.
All content copyright © Hannah Catherine Jones 2014