The objects could be anything generative, and Heather’s choices are varied, sophisticated, heartfelt, and a fascinating insight into what interests this artist.
Suggestions of timeless spaces, Miss-Julie-ish rage, and as I knew from the program, taking up issues of sexual violence.
There is a dizzying effect to the realization / acknowledgement of one’s cringe-worthy actions as white person to date, and Aloha Aloha gives that kaleidoscopic wheel quite the healthy spin.
“Nothing happening,” I wrote in a heavy slant down the page, “but I can’t look away.”
The act of appropriation at the core of the theatrical encounter becomes, in Sy’s hands, a metaphor for and means of exploring other appropriative encounters and the difficult entanglement, in each, of empathy and violence.
The anxiety vortex of What Makes Us Feel Good shoots one into the black hole of anxiousness.
Wilson says to the container, “Well fuck you,” then to us, “Get ready to run if this explodes, I guess.”
there’s never enough time and we’re always reaching back, trying to remember what it felt like to crack wide open for the first time.
The sense of risk, scrappiness, and, in the words of Herskovits, “failure” is strong.
In the alchemy of her performance, humor and transformation become means not of hiding the self, but of revealing it.
I know both the impossibility and necessity of such a Decolonizing.
As a central point of exploration: “Spaces are not exterior to our bodies, instead, spaces are like a second skin, they unfold in the folds of the body.”