Although I was hoping to invite you to meet Zoë as my presentation, I have had to pivot, a move Melbournians are very familiar with. She currently asserts her presence in the imaginations, muscles, minds, digital files and platforms that play hostess for now. She is latent, a nascent performance until she meets with the live audience.
Posthumanism, new feminist materialism, relational and affective knowledge systems have guided my arts-practice and research, exposing a synergy with my established passion for collaboration and devising processes that are responsive and attentive to emergent ideas. I am recognising improvisation and collaboration as a posthuman process. The relationship between human and non-human offers further exploration for future imaginaries and art making.
I am working in the public realm with a body-based performance practice during a pandemic with limited access to public space. This context has changed the presentation of projects I planned and their processes, with each rupture bringing a new set of conditions requiring new responses. Although at times disruptive, improvising with these seemingly aleatory conditions has also revealed new territories and potential hazards but Zoe has always been a risky proposition. Zoe is preparing a public performance in March 2022.
In the Middle of Zoë 