A trickster, her brown body in a sequined gold prom dress pulled up to her hips, her genitalia partially covered by a hemp loin cloth, hands and face painted white, disorients us by disorienting herself.

I question the complex nature of womxnhood and time, conventionally known as the “biological clock.” What is a body that rejects the nature of reproduction as associated with the society of men? Pulling from durational performance and Butoh theatre, I challenge time—which changes all things—to address existential dread: boredom, contentment, irrevocable sadness, elation and ecstasy, loss, fear, pain, playfulness, and childlike wonder as emotions of a liminal but limited body.

In the backdrop of the scene, a bloated plastic bag filled with water is hung about six feet above the ground. The trickster slips an unknown visceral substance into the bag. The altered red water drips methodically from a hole at the bottom of the bag into a metallic cooler full of ice below.

Throughout the performance, the trickster interacts with objects to animate herself including driftwood, a crab claw, a hand painted torch, plaster gauze and namely, a deflated blue exercise ball that the trickster eventually fills with ice and places atop her belly. She flaunts yet distresses over her pregnant belly full of ice—a metaphor for the societal expectations of womxn regardless of conflicting identities, bodies, roles, and desires.

Next to the plastic bag of water on the wall is a burning blue and white torch. The persistent drip of water and the burning blue flame race against time; our trickster’s only time keepers cannot tell time.