I am interested in generating a spontaneous communi(cati)on between myself and an audience using a performance in which I function as a channel by which a recorded history of what was previously known but became unknown in the past becomes uncannily known again in the present, only to become unknown again at the end of the performance. Each of my performances is a mythopoetic product of organic processes which depend not only on the different modes of sensory perception of my body of unambiguous (i.e. explicit and literal) and ambiguous (i.e. implicit and metaphorical) processes and events taking place in my multisensory perceptions of the sensible world; but also on the individual (mental and bodily sensory) and collective (cultural) memory-images I derive from both these different modes of perception and my diasporic experiences.  

My processes of production of such a mythopoetic artwork may be conceived in terms of a life-cycle in which the ‘ancestral life’ of a recorded history that was previously unknown – and therefore ‘alien’ – to me and the audience becomes known via the artwork, only to become unknown again at the end of the performance.

I use my artworks to explore the unstable boundary distinctions between my human ‘subjective self’ and the non-human ‘objective other’ materials of nature with which I conjointly produce such artworks. An attendee of one of my performances may experience both an enhanced/impaired distinction between his/her ‘self’ and the ancestral life of the ‘other’ in a (sub)liminal ‘zone’ of perception that was previously forbidden to him/her, and attribute unambiguous and ambiguous meanings to this ‘other’ life.

Image from performance at UNFOLD Space 2017. Courtesy Jennifer Moyes.

Lately, I have been experimenting with AI by inputting my performance images and seeing what videos the AI outputs. It has been an interesting and eye opening experience so far. I think AI could also play a significant role with artists by augmenting artistic expressions and engaging a wider audience. AI-powered technologies could potentially help artists experiment with new forms of expression, analyze environmental data, or even create interactive installations that involve the audience in a more immersive way, deepening their connection with ecological issues.

Donna J. Haraway’s idea of the “Cthulucene” is a concept she introduced in her book “Staying with the Trouble: Making Kin in the Chthulucene.” It is a play on the term “Anthropocene,” which refers to the current geological epoch characterized by the significant impact of human activities on the Earth’s ecosystems.

In contrast, the Cthulucene is a speculative term that challenges the anthropocentric view of the world. It moves away from solely focusing on humans as the central actors and recognizes the interconnectedness of all living beings and the environment. Haraway embraces a more symbiotic relationship between humans and non-humans, emphasizing mutual dependence and kinship.

The term “Cthulucene” also draws inspiration from the works of H.P. Lovecraft, a science fiction writer who introduced the cosmic entity Cthulhu (yes I know he was a racist homophobe and Haraway aknowledges this and refers back to the origin of the term It means “universal” or “all-encompassing,” and is derived from the Greek word Katholikos and before that Katholou: a combination of the Greek words for “about” and “whole). By using this reference, Haraway underscores the idea that we are living in a time of multiple entangled histories and possible futures, acknowledging the complexity and interweaving of different life forms and ecosystems.

 
The Cthulucene encourages us to think beyond individualistic and hierarchical views of the world, emphasizing collaborative and caring relationships with all creatures, human and non-human alike. It invites us to consider our collective responsibility in shaping a more sustainable and interconnected future for all life on Earth.

Donna J. Haraway, in her book “Staying with the Trouble,” is part of a new ecological movement that looks for ways to address environmental challenges and the future of humanity and all living creatures on the planet. Her approach involves reimagining relationships between humans, nature, and technology.

I intend to continue to utilise Haraway’s theories to create artwork that addresses these ideas. Performance art, installations, and 2D works can be powerful mediums to convey ecological messages and engage the audience emotionally and intellectually. I strongly believe that by using your body in performance art, you can create a unique exchange with the audience, fostering intersubjectivity and empathy, which helps them better understand messages beyond just words.

It is my opinion that, by combining new ecological thinking, artistic expression, and AI technologies, artists can propagate important ideas about the environment and human-nature relationships to the masses, fostering greater awareness and understanding for a sustainable future. This is my intention for the development of this work going forward.