the installations and traces of march 18 and 25 investigated creative process through each artists level of trust and commitment to their object of inquiry. While some of the artists used stream of consciousness to embody social narratives and personal rituals, some opened the space up for interaction with these narratives. 
The performances illuminated the paradox of publicly performing intimate investigations. Through fictitious narrative and sculptural form Genevieve Cloutier activated a surreal mental landscape.
Patrick Cruz, as a fertility bunny, performed an absurd script exploring cultural traditions, appropration, and divinity. Marianna Villasenor created an opportunity for the 'audience' to observe their own growing edges by presenting two very different changes of clothes to be tried
on. With aid of a tub of dirty water and a tube, Grant Hash made visible a world of playful discovery and delight based on his philisophical exploration of the body as a tube. And Jennifer Somerstein, by examining her own mental narrative of what performance is, discovered a stream of conciousness in her mother tongue of what she was actually experiencing. She presented the awesome vulnerability of engagement with creative process as a living snap shot in time. The peices for me felt like an opportunity to bear witness to the process of art making. In the making of our art, our art is making us.
The performances illuminated the paradox of publicly performing intimate investigations. Through fictitious narrative and sculptural form Genevieve Cloutier activated a surreal mental landscape.
Patrick Cruz, as a fertility bunny, performed an absurd script exploring cultural traditions, appropration, and divinity. Marianna Villasenor created an opportunity for the 'audience' to observe their own growing edges by presenting two very different changes of clothes to be tried
on. With aid of a tub of dirty water and a tube, Grant Hash made visible a world of playful discovery and delight based on his philisophical exploration of the body as a tube. And Jennifer Somerstein, by examining her own mental narrative of what performance is, discovered a stream of conciousness in her mother tongue of what she was actually experiencing. She presented the awesome vulnerability of engagement with creative process as a living snap shot in time. The peices for me felt like an opportunity to bear witness to the process of art making. In the making of our art, our art is making us.
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