My preferred modes of communication are performance and video installation, although I do like to explore other ways in which to document my performances rather than just filming them. For example, I worked on a piece that concentrated on me sewing lines using a sewing machine with as much precision as possible. The representation of this event was the sewn item its self.

 

I prefer this way of documentation as it means that an audience cannot react to on the same personal level that they would if they were watching you. On the reverse, this also highlights why I like live performance: it is precisely this personal interaction of the audience, and the raw and intense feeling it creates, that I feel challenges me to test myself, and in turn, explore how my mind works. I find that most of my work is based heavily on learning and research. I feel that my work is enhanced by my deep understanding of the subject matters and as such I often present my research alongside my pieces, thus providing a better understanding of my concept for those viewing the work.

 

Although my work is not always initially created with a gallery space in mind I do feel that it works just as well in this environment. Placing my work in the public view allows me to discover how an audience connects to it and permits discussion of the piece to ensue; I find this often helps to further develop my work.

 

After studying the documentaries "the chemical generation" and "summer of rave" I then decided to create a set of garments that would of been worn in nightclubs in 1978. Built into the garments are secret pockets, the pockets purpose being to hide drugs such as Ecstasy, a drug popular in the club culture from 1978, I was interested in the collision of the fashion and club culture in 1978 which lead me to create this collection.

 

Contact:

Website: http://emmavictoria.tumblr.com/