For the initial performances, coming from a theoretical background, how did the theory manifest itself within the performance?
Well, although I was looking at theoretical positions, I was also studying the history of performance. Looking at people like Allan Kaprow and ‘Happenings’ which were taking place in the sixties, so a lot of my early work was quite derivative from those, as I didn’t have discourse around it, I was just in the street by myself. So they probably were quite illustrative of that time, of theory, but it seemed like a relevant place to start. I think it’s important that performance practitioners work on the street, as a lot of performers now have no knowledge about audience. I learnt how to structure performances and encounters from working on the street with non-art aware audiences. I think that’s important, that you work in different context from an art institution. But then when you moved onto a project like ‘Spent’ it’s not so performance based, or is it? Turning a private performance at an earlier date into a static artwork? How did one turn into the other? Well, what I’d been doing was
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