“The status of the performing art object within contemporary performance art is my primary concern.
My initial curiosity about the status of the object within performance arises out of my own experience of performance. It seemed to become increasingly clear to me that the materials and objects utilised in performance were actually quite central to the work at hand. Witnessing the vibrant pigments of Nigel Rolfe’s oeuvre and monumental sculptural structures that reappear in Amanda Coogan’s performances I could not help but wonder why such little attention was placed on these aspects of performance. These aspects did not seem incidental to me and carried much of the weight in the work’s promise. Encountering performance after performance in which the body was utilised alongside other vibrant materials left me puzzled about the lack of an accessible theoretical frame work in which to think of these objects.
Fundamentally my research does not claim to reach a theory that encompasses all performance ever conceived, but rather a particular genre of contemporary performance which embraces the objects of performance alongside the iconic performing body.”