A body of water holds so much potential.
Eventually bottled
consumed and abject
Constant transfiguration. Moving. Multiplying. A collective of individuals that shift together
and apart.
Supporting and supplying an eco-system. A body.
An abject body.
Inviting us to connect and participate,
holding space for what they have experienced before, to become anti-body, a collection of abject anti-bodies rushing over the shores and running from the tap.
A community. A body.
I situate my practice within the idea of a community being a body of water. Recognising that we are one element of a much larger eco-system of living organisms, a raindrop within a tsunami, begins to unfurl the hierarchies that we, as humans, incessantly create to form ‘order’.
My curatorial practice centres itself around collaboration, encouraging a transparency of labour and influence. Forming relationships and connections to create cyclical learning environments that are inspired by the innate human need to move with people and be moved by them. Taking inspiration from club culture and my work as a contemporary dancer and choreographer, I treat audiences as the infrastructure of art spaces, constantly questioning who is performing.
I practice an abject curatorial, that which does not respect borders, promoting difference and refusing objectification within representational aesthetics, finding pleasure within its ambiguity and queerness. Flooding and evaporating, it can move against the law and through different states.
My urgency for the audience to feel included in art spaces, is an act of queering the curatorial. Although coming from an economically unprivileged background, I have had a privileged creative upbringing, and would like to continue to extend this invitation through my work. My dissertation research of the potentials of a queer curatorial exposes the visitor to their value and necessity of their attendance.
Art, movement and collective consciousness are forms of communication that can transcend a conversation, dealing with topics that are often unfathomable. It is this in-between space of reception that excites me as a curator. Undeterminable but holds all the possibility of the artworks. I situate my practice within this intangible space, facilitating the stories of others and the multiple ways an artwork can be understood – engendering wider communities and society.