Rosemary, 2022, London
I lay points of a dining constellation, recreating an already consumed meal, a gathering of plates within the meta tray. A meal within the meal within a ritualistic reconfigured domestic surreal circle! Layers of interconnected narratives spiral subliminally out of this plate into the spatial plate-circle mega tray: recreating the space for me to physically engage the violent everyday search for ideal wellness, supposed fast health.
Enforcing healing as if it could be consumed, outlining the issues that build in and out of relationships to the body, food, and the trauma that is cast between the two.
I hide the performance in plain sight just like all food disorders operate in one's life. The binge is layered in a liminal space of contradictions between the familiar gathering rituals and the lonely habits, between conscious and unconscious, between the learned, the inherited and the secretive.
The audience accesses the performance solely through phones positioned around the installation, denied entry into the inner dialogue that unfolds. Here, the screens are transformed into portals of intimacy, stripping away superficial appearances. Through this raw and personal medium—the phone—each spectator is isolated, confined to observe alone. It is a space overrun with the artifacts of self-display, cycles of posting and pretense, where the screen format itself is subverted. The act of consuming rosemary’s roots becomes a meditation on our fragmented relationship to healing and vulnerability. In this space, attempts at wellness feel distorted, twisted—something wicked and turned the wrong way.
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Pasto Solto, 2021
In this performance, I work with ny mother to explore the myths and emotional bonds related to food, the body, and maternal relationships. The act of undressing symbolises the stripping away of inherited roles, allowing us to confront and transform their shared histories. By engaging in the ritual of eating and spitting out pomegranates—fruit laden with mythological significance—the performance challenges traditional notions of fertility and maternal lineage.
Feeding my mother with her childhood recipe ‘risotto al latte’ (milk risotto) serves as a poignant gesture of care and connection, while simultaneously subverting the conventional roles of mother as nurturer and daughter as dependent. Through this intimate exchange, my mother and I navigate the complex dynamics of love, control, and healing.
This performance embodies my broader artistic practice, which is rooted in the exploration of feeding practices, embodiment, and questioning the considered ‘abject’. By incorporating elements of ritual, the performance becomes a speculative act of rebirth, where mother and daughter attempt to rewrite their shared narrative. Hinting at works like Psychomagic by Jodorosky, the work becomes a powerful meditation on the potential of transformation.
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MINDFOOD VOL 1, 2020, performance duration 15 min
The film is the partial documentation of a live performance, in which I construct a speculative human engine of a mass produced anonymous food-body-mind code system chain. By the entrance, the audience is given a pre-packaged pizza, which will then be invited to consume if desired throughout the performance.
The incubator hosts a performer I had chosen specifically for this occasion. She has the volumes I used to have, we come from similar bodily experiences- which I believe builds specific powers and undercurrent energies. The audience encounters them already sitting in the plate-tub; the performance then begins with the sound of a microwave opening, which gets set and then started. Over 20 minutes “the fat lady” is repeatedly mixing water and flour, which is introduced into the engine-plate by a second performer who embodies an anonymous male factory worker.
This work has been named controversial for adopting the body of another performer, given that my current body, when covered, appears as quite conforming to contemporary beauty standards. However, this piece was conceived through a former body of mine that is folded within me, and I would perform it myself if that part of me were tangible and visible today. I know some practitioners take advantage of orchestrating work that has never belonged to them; this piece instead is the fruit of a conversation between the needs of my past self and the current ones of Laura Funk, the performer. Part of the discomfort that comes from the performance is a reflection of everyday violence towards fat bodies, which is also why I find it relevant to engage with this specific body and theme.
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Untitled Couch, 2020, performance duration 10.40min
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