The pioneer performance artists used their bodies as construction sites, experimenting with them in advance of feminist theoretical writings on the subject, and this meant that we were both uninformed and unrestrained by those theories. Consequently, we were in the unique position of creating a new genre while being at once vulnerable, unpretentiously direct and speculative.

In the context of the feminist revolution performance evolved simultaneous with issues of identity politics and projecting our voices and presence into the public arena while re-defining prescribed cultural norms. We at least performed: in your face taboos, narcissistic indulgences, self/group revelation and creative political performance events indoors and out. Confrontational group actions for strategically targeted issues took the form of rally's, zaps, marches and were perfected by WAC (Women's Action Coalition of the early 90s) who aimed at embarassing the gatekeepers into taking positive action, (see under this web site's Activism/Groups for visuals).

I began my 70s photographic body works outdoors in private which was crucial to creating a state of trance and susceptability. My first nude series of ritual performances from the early 70s, focused on my own body as a visual trope for exploring self-constructed identities. In the next series personal identity was obscured by covering my body with yards of transparent cloth and moving in front of the camera. The movement referenced a film and implied a metaphysical de-stabilization of traditional notions of permanence and our perception of what else might be there that we are not seeing. In both series the body was used as a found object in which both the subject and the material of the artwork were one.

Most of the performative photographs in this series incorporate artwork on the photograph, using either collage or oil paint, ink, and China marker. Sizes vary from 10x8” to 20x20” and 40x40” and 4x5’

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