Erwinna, Pennsylvania
Born 1972, Corpus Christi, Texas
Over the last two years I have been developing a performance technique called "Real Time Film." It is a conceptual model conflating performance, television, and movies. Using live performance and video, it plays cinematic composition and controlled perspective against the "authenticity" of TV broadcast and the immediacy of live performance. It's a live movie that examines the use of image in entertainment, how we experience the image versus its manufacture, the split between surface and interior, and the different layers of truth.
In "Real Time Film" the actors work in front of three stationary cameras, and what those cameras see is projected on a three-segment, shoulder-high screen running the length of the stage between the audience and the actors; the performers' heads, shoulders, feet and the projections of their actions are all that's visible. Watching the screen, the audience sees a movie. Watching the performers, the audience sees the making of the movie. Bodies morph into one another and limbs attach and reattach to different characters. The form short-circuits the audience's ability to discern gender, race, and sexuality; dissecting the semantics of everyday visual communication; and becoming a new way of relating the fluidity and manufacture of identity.
1994 B.A., University of Texas at Austin
1999 Artistic Director, Big Art Group
2002 Empty Island, performed in workshop at Soho Rep's Research and Development Series, New York.
2002 Flicker, premiere at Performance Space 122, New York; Festival d'Automne, Paris.
2001 Shelf Life, premiere at The Kraine Theatre, New York; Walker Art Center, Minneapolis; Wexner Center for the Arts, Ohio State University; and University of Texas at Austin.
2000 The Balladeer, premiere at The Kraine Theatre, New York.
1999 CLEAR-CUT, catastrophe! performed in workshop as part of the New York International Fringe Festival.
