I’m building a coalition of collaborators and viewers in L.A. through work that universalizes our need to find love, and the inevitability of loss. I’m appealing to an overly connected world’s growing sense of isolation, providing authentic shared experiences to witness something tactile that doesn’t take place in an app.
42% of the audience did not know me. 34% were friends. 5% were neighbors, and 11% were friends of friends. 3.4% identified themselves as estranged lovers, while 4.2% suggested they were future lovers. 2.5% considered themselves frenemies. 15.9% follow me on social media, while 4.2% know me because I follow them. 4.2% knew me from school or the gym and 2.5% knew me from yoga. 11.8% were donors or backers, while 10.9% were collaborators.
Others (21.8%) were connected to me for singular reasons: We met at a queer beach, Trader Joe’s, CVS, or a recent birthday party at Little Pine. I’m a family friend. They knew me through a grant application process. They’re a fan of my mom. They wanted to be a future friend or collaborator. I performed at their festival, or they knew me from coming to a previous performance.
Audience also became aware of the performance through direct mailings: 22% through Automata (the venue), 20% Marsian De Lellis (the artist), 9% through The Los Angeles Guild of Puppetry, 9% through Los Angeles Performance Practice (producer of the LAX Festival Producer), 7% from Object of Her Affection’s Kickstarter Campaign.
4% learned about the performance through the artist’s website, MarsianDeLellis.com.
2.5% were pedestrian traffic who became interested through (In)/Animate Objects, the artist’s window installation, which consisted of over a thousand handmade distressed rag dolls.
1.6% heard about the performance through phone calls, direct contact through dating apps (Grindr, OkCupid, or Tindr), or the Chinatown Full Moon Festival.