My performances address differences between narrative, image, and momentary lived experience, continuing traditions of disruption and authenticity historically associated with the art form. I compare the broad physicality and interactive quality of performance to the small movements and privacy of the painting process, which is also embodied and produces images of a different type. Finished products involve pastiches not only of the tv shows, movies and pop-cultural phenomana I replicate, but also of art and performance art in particular. The super-seriousness of the of the medium is mediated by stereotyped narratives, caricatures, and cliches. Ultimately each performance deteriorates into image and narrative.



Game Day or Rape, Interrupted uses the plot of Law and Order: SVU episode 5, Season 18 titled Rape, Interrupted to test the differences between the show and a physically enacted narrative. I altered the plot significantly, decomposing and recomosing its primary events into a dream-like short story, which is read aloud multiple times as it is enacted.







Christmas Tree uses the image of a school girl porn magazine in a altered context. The original image, now a distant memory from my adolesence, featured a well lit subject, nude on the lawn of an ivy-league league-ish campus in summer. The image I create is dark, obscure and takes place in winter.







Cross Intervention was an intervention on an annual pro-life memorial on the Southern Methodist University Campus. I read graphic auto-fiction and my own journals in the middle of hundreds of crosses meant to represent aborted fetuses.







In Search of the Dumb Cunt’s Lost Memories is an experimental text that addresses visual-cultural manifestations of white femininity, first through ideas of color and the appearance of the intellectual landscape, then through a comparison of unstructured poetical analysis, and finally by examining the conspicuously white visuality of intellectuality by a comparison of Ted Bundy’s victims to prominent white women performance artists of the same era. The text uses and discusses the methods of reminiscence and phenomenological description at work in both I Love Dick (Chris Kraus, 1997) and In Search of Lost Time (Marcel Proust, 1908).