On November 2, 2018, Jacki Apple wrote Love Lost and the Enchantment of Objects, a critical essay on my performance, Object of Her Affection, for Fabrik in her column, Peripheral Visions: Perspectives on Performance, Media and Culture.
I am delighted to announce that I will be the recipient of a Foundation for Contemporary Arts Emergency Grant, which will support performances of Object of Her Affection at Automata as part of LAX Festival. Object of Her Affection is a solo object and puppet-based performance art piece centered on a woman, who in her search for true love develops intimate relationships with inanimate objects. There will be twelve performances over three weekends from September 27th and October 14th. Details will be coming soon.
On December 7th, 2017, Center Theatre Group interviewed Gina Young, Hana Kim, and myself as finalists for the 2018 Sherwood Award about our art/lives in L.A. Read the full story on the Center Theatre Group Blog. Continue reading “2018 Sherwood Award Finalists Interview (CTG Blog)”
Today, the Center Theatre Group announced three finalists in the Richard E. Sherwood Award, which included Gina Young and Hana Kim, and myself.
On June 16th + 17th, I presented an initial scene from Model Killer: Giant Crimes & Tiny Cover-Ups, as an artist-in-residence at the Eugene O’Neill Theater Center at the culmination of the National Puppetry Conference. Model Killer is a morbid comedy centered on Vivian Nutt, a disgruntled dollhouse maker turned investigator. Vivian builds dioramas of unsolved murders, only for it to be revealed that she is a serial killer. In Model Killer, I am creating a universe in which I invite the viewer to reconsider female serial killers, the historically feminine craft of miniatures, and murder as entertainment.
From to June 3rd-10th, 2017, video documentation from my performance, Raggedy Ann to Real Doll was on display at Los Angeles Contemporary Exhibitions as part of Irrational Exhibits 10th Anniversary: Mapping the Divide, curated and produced by Deborah Oliver. In Raggedy Ann to Real Doll, I constructed a storefront operating theater at LACE as one of America’s most beloved dolls went under the knife. I examined how we negotiate our idea of personal identity in an ever-shifting landscape of technologies that can drastically alter and re-map the body. Projected video and the remote voyeurism from a live stream provided multiple onsite and virtual opportunities for spectatorship.
In June 2017, I was the recipient of funding from both the Walt Disney Company and the Eugene O’Neill Center for an artist-in-residence as part of the National Puppetry Conference. During the residency, I worked on Model Killer: Giant Crimes & Tiny Cover-Ups and performed the first scene, Model Victims at its culmination.
Continue reading “Walt Disney Co. + Eugene O’Neill Theater Center (support)”
On April 20th, 2017, American Theatre, a publication of Theatre Communications Group announced the 2017 season at the Eugene O’Neill Theater Center, including my artist-in-residence at the National Puppetry Conference. The artist-in-residence was for Model Killer: Giant Crimes & Tiny Cover-Ups, a morbid comedy centered on Vivian Nutt, a disgruntled dollhouse maker turned investigator.
The weekend of October 15th, 2016, I performed The Feeder, a short tabletop puppetry piece about a man on the run after accidentally feeding his wife to death at The Echo Theatre in Portland, OR. There were two shows: Saturday, October 15th and Sunday October 16th as part of Beady Little Eyes Puppet Slam.