“LIGHT/ORGANZ,” for performer and stereo playback, features a electroluminescent wire around a sound-responsive leotard. Three colors, on three different sections of the body (yellow corresponds to legs, red to torso, green to arms), respond to the accompanying sound composition. The concept, inspired by feelings of powerlessness and loss of control of my own life, centers around my movements being symbolically dictated by an outside source—here, the sound, which is represented visually on the body. Through the connection between the costume and the audio, I am literally “wired in.”

The opening section of the piece features the mover on a chair in the middle of the room, blindfolded. Lighting is dim enough to make the wires on the costume the focus of the visuals, but not dark enough to black out the image of the performer. The opening sections feature abstract sounds while I move sections of the body as they are lit up. These sections serve as a kind of “discovery” or “awakening of consciousness.”

Soon the sound becomes quicker and denser; animal sounds emerge and the movement becomes more involved and imitating of the referential sounds. As human voices emerge, I utilize all three chairs center-stage to move between characters. The sounds are pulled directly from my recordings, sonic pictures of my life.

By the final section, all parts of my body are lit up and the sound is aggressive and constant. There are sounds of traditional music and noisy screams. All the movement of this finale takes places from the floor; I crawl and throw the chairs, destroying the set. The sound cuts suddenly, with a last few flickers of the body’s lights as my body ends in a fetal position.