Devolve, 2017
Strawbs, 2017
NEW THEORY | REALITY A B & C
the experiment was a success
the experiment was a success
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Este baile con la materia està fuera del guión, 2017
[performance] Video documentation on request |
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"Wouldn't them more see how you feel?", 2015
[16 days at the farm documented via video diaries]
[16 days at the farm documented via video diaries]
Cover of Own Kind of Music, 2015
[Durational and punctual performance]
[Durational and punctual performance]
"Today we will go on an elemental journey...." , 2015
[Framed image accompanied by an assortment of objects incl. crayoned stones and wooden silver star]
[Framed image accompanied by an assortment of objects incl. crayoned stones and wooden silver star]
Collaboration, 2015
[Film 2.34]
[Film 2.34]
Speech, 2015
[Live collaboration]
[Live collaboration]
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Temp Settling, 2015
[Durational live residency]
[Durational live residency]
Just Because, 2015
Tacked, 2015
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Posters, 2015
[Collaboration] four posters by Hazel Dowling and Rosa Farber promoting hypothetical workshops to be delivered during the residency. The events advertised have no date or time making it impossible for participants to attend. The posters assume an interactivity with the public, as required by the local council, the owners of the space |
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Here we go, 2014
[Image and soundtrack] the image is accompanied with a soundtrack of specific songs. The songs were selected and complied in a particular order, intending to 'set the scene' for how a recent fine-art-graduate might be feeling in her first six months out in the world |
Anonymous, 2014
[Film 7.55] an attempt to recall (and illustrate) stories from my memory that I felt had potency in their original context. Anonymous came about during a shift in my practice, and acts as a kind of stepping stone into... I don't know what....
[Film 7.55] an attempt to recall (and illustrate) stories from my memory that I felt had potency in their original context. Anonymous came about during a shift in my practice, and acts as a kind of stepping stone into... I don't know what....
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Please be seated and remain standing, 2014
[Live] script reading by audience members, accompanied by projections of the artist's inward thoughts |
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Have you so soon forgot the entertainment, 2014
[Performance and Film] method acting has been employed, and subsequently documented, for 'Have You So Soon Forgot The Entertainment?' The character building session took place at Brooke Green's Wild Food Market, with the performance following that evening on board the District Line tube
[Performance and Film] method acting has been employed, and subsequently documented, for 'Have You So Soon Forgot The Entertainment?' The character building session took place at Brooke Green's Wild Food Market, with the performance following that evening on board the District Line tube
Thank You/Me for Participating, 2014
[Sculpture/text] selection of degree show work chosen to be exhibited in the university's graduate showcase. The title points to the co-dependance of both the student on the university and the university on the student
[Sculpture/text] selection of degree show work chosen to be exhibited in the university's graduate showcase. The title points to the co-dependance of both the student on the university and the university on the student
Applause, 2014
[Intervention] an ironic action after hours of clapping
[Intervention] an ironic action after hours of clapping
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Audience Participation Required, 2014
[Live Participation / Video Projection / Props / Sign] a live participatory performance that took place at the private view, in which the audience enacted a written script. This scripted conversation happened in front of a screen, behind which a variety of props were being stored; perhaps to be used in future acts. A sign that read: THANK YOU FOR PARTICIPATING addressed the entire space from the balcony
[Live Participation / Video Projection / Props / Sign] a live participatory performance that took place at the private view, in which the audience enacted a written script. This scripted conversation happened in front of a screen, behind which a variety of props were being stored; perhaps to be used in future acts. A sign that read: THANK YOU FOR PARTICIPATING addressed the entire space from the balcony
The Rehearsal, 2014
[Film 1.52] documenting live participatory works] script enacted by voluntary and involuntary audience members/participants. Includes Conversation Cups, Smirnoff-Ice-Breakers, Cocktail Party and Scripts for Scrits
[Film 1.52] documenting live participatory works] script enacted by voluntary and involuntary audience members/participants. Includes Conversation Cups, Smirnoff-Ice-Breakers, Cocktail Party and Scripts for Scrits
Table Scenario, 2014
[Live Participation] a ‘set’ comprised of various mise en scene; including a script as a way of engaging, or disengaging, dialogues between participants/audience members. This dialogue highlights the conditions of its own making, in which the participants are made to discuss their own passivity or activity in relation to the work, and how the artist may, or may not be, undermining them
[Live Participation] a ‘set’ comprised of various mise en scene; including a script as a way of engaging, or disengaging, dialogues between participants/audience members. This dialogue highlights the conditions of its own making, in which the participants are made to discuss their own passivity or activity in relation to the work, and how the artist may, or may not be, undermining them
Tea Towels, 2013
[Performative Objects] performative objects operating as social interveners reading 'if you be my bodyguard I will be your young blonde artist'
[Performative Objects] performative objects operating as social interveners reading 'if you be my bodyguard I will be your young blonde artist'
Buddy, 2013 (above)
Nose Job, 2013 (left)
[Collaborative performances] pretend nose jobs and musical interventions were performed at an office-turned-art-space in Bank, London's financial centre. These works were collaborations with Anni Movsisyan
Nose Job, 2013 (left)
[Collaborative performances] pretend nose jobs and musical interventions were performed at an office-turned-art-space in Bank, London's financial centre. These works were collaborations with Anni Movsisyan
The Grizedale Experience, 2013
[Film 1.44] a collaboration between Helen Savage, Anni Movsisyan and Rosa Farber
[Film 1.44] a collaboration between Helen Savage, Anni Movsisyan and Rosa Farber
Plong, 2013
[Performance] undermining oneself through object performativity
[Performance] undermining oneself through object performativity
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Curtain, 2013
[Performance] the curtain hung in the door way of the exhibition, its flowing folds dramatic, feminine and majestic. My hair-style mirrored the fabric's form; a subtle comment on female presence and object subjectivity |
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Highlighted, 2013
[Performance] an extremely missable performance that highlighted the sometimes awkward nature of being a woman |
Left, 2013
[Performance] of my life on the left |
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Overview, 2013
[Durational Collaboration and Performance] the project included guided tours that provided visitors with an overview of Transmission Collective; a recently formed group of art students. The tour gave an insight into the social relations between group members. A collaboration piece with Antonio De La Hera
[Durational Collaboration and Performance] the project included guided tours that provided visitors with an overview of Transmission Collective; a recently formed group of art students. The tour gave an insight into the social relations between group members. A collaboration piece with Antonio De La Hera
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Gold, Red and Black Material, 2012 [Performance] 22nd November 2012: in the living room of 131 Harrowdene Road, North Wembley, at the exhibition Cheap Drinks 2 the performance took place. It included the reading aloud of a letter written by my mother, addressing my grandparents, telling them of an art exhibition that took place in her living room in March 1986 |
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Roundabout, 2012
[Live Participation] a physical and psychical journey in which
the audience are taken through the building and memory
[Live Participation] a physical and psychical journey in which
the audience are taken through the building and memory
Chalk Line Drawing, 2012
[Film] left 1.45, right 3.21
[Film] left 1.45, right 3.21
