AUTOS (Greek "self")
FLECTIONS (Latinflectere "to bend")
The performer stands in a room, windows at the side.
Walking to the windows, the performer grabs a handful of lipsticks.
As they arrive at the window, they see their reflection.
As the performer applies their lipstick, a disembodied voice emerges.
As the voice begins its dialogue, performer and reflection kiss.
As the dialogue continues, so does the act of kissing.
As time passes, lipstick colours both lips, body and glass.
The disembodied voice. The body present. The reflection of body.
All being fragments of AUTOS in a state of reflection.
Coming from a place of personal contemplation, Hall uses improvisational performance as a form of exploring a series of sensory and social gestures in relation to questions regarding their role as Autos (Greek ‘Self’) and how they affect, and are affected, by the world around them. In AUTOS/FLECTIONS, Hall delves deeper into a series of gestures that they have touched on over the last year, such as the recorded voice, the use of surface reflections in glass and the intimate action of kissing as a means of exploring personal contemplations.
Potentially touching on their thoughts and observations of being on the autistic spectrum, exploring their queerness in relation to sexuality and gender and the influence of performance art as a method of processing, they also make reference to allegorical frameworks such as the myth of Narcissus and Echo as a method of holding reign of the tangential nature of Hall’s improvisational mode of performance.
About Richard James Hall
Richard James Hall is a performance artist from Newcastle Upon Tyne, who also works with a variety of disciplines and media, including textiles and written text, as well as being a founder and organiser of PAN (Performance Art Newcastle). Hall's performance practice develops from a place of personal contemplation, questioning their role as Autos (Greek ‘Self’) and how they affect, and are affected, by the world around him. As they work through a series of sensory and social gestures, such as walking into a wall repetitively to the personal language used by the artist who then chants the seemingly meaningless words.
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