“Sylva Dean and Me, NYC and Beyond” was created for, and occurred solely during, Select Art Fair and was performed approximately four hours daily for five days. Each day members of Sylva Dean and Me (SDM) activated wearable sculptures surrounding women bathing themselves in milk. Throughout the Fair these actions were accompanied by the improvisation of a harpist, noise musician, and bassist.

Originally intended for the masses as a public intervention, this performance was the first stationary durational performance executed by SDM. Existing and occupying the space between performance art, theater, sculpture, and miming, the multidisciplinary artists composing SDM navigated boundaries while encroaching into personal space (tying together parents’ shoelaces then picking up and running away with their small children) and explored the patience of fascination while circling and dancing with members of the audience for extended periods of time.

The perfectly pale white skinned porcelain goddess with urine colored hair (a la the Venetian Renaissance trend) and an easily transferable transparent mask obscuring the identity of the woman bathing speaks to __________.

The androgynous full bodied Guardians wearing equally obscuring transferable clear masks references __________.

Sylva Dean’s Victorian ballgown providing her a spine to finally stand erect juxtaposes the __________ of the cracks in her doll face.