My focus in exploring these images of myself and more-than-human meetings had two theoretical aspects: first, using detail to destabilize how I or another look at these images, to move from “middle-aged woman” and its associations to something else. Second, to foreground the images and turn them into, not an obstacle to be overcome, but the main subject, dissolving my own somatic-capitalist aging dysmorphia, creating a visual, sensorial intimacy with the process.  

Placeholder dialogue on body data freddy August 2024

Placeholder October 2024 video Panel 6

Off-Peak solo September 2024 

Movement in the performance movement is limited  by my own injuries; I dance in one spot  Draws together capital with religion, through the embodiment of the CEO / evangelist character. Rather than offering a clear path to redemption, it inhabits both sides of terms like enough and more. Performance allows paradox and playfulness to co-exist, with a wider scope of material available than the labs which have to build so many practice bridges to dancers and to economists.  A solo using movement and text to explore of limits, desire, pain and falling apart, it interweaves the themes of this research  from a personal performance perspective. It exposes tensions between qualitative and quantitative – and the fundamental underlying nature of the qualitative – (Massumi 2018) by literally placing charts on body parts, as well as inhabiting something of the preacher-character echoing the idea of economics and capital as religion.