The intention of “Action for a House in Pimlico” was to play with and subvert the formal symbolic representations implied by the private environment, traditionally associated with the upper class heteronormative family.

Through messy abject actions I explored the notion of the female host as seemingly subservient. I carried 100 eggs in my arms, attempting to keep them all within my grasp which was an inevitably impossible task resulting in me dropping the eggs, finding them falling from my body to the floor. A milk bottle hung suspended from my vagina for the duration of the performance. It occasionally spilled as I attempted to keep a tight grip whilst moving within the space. The room was filled with the audience leaving hardly any space for me to move. It felt incredibly intimate as their bodies pressed up against each other, stopping only at a breath’s distance from me. I assumed a chair position, fighting with the weight of my own body and trying desperately to maintain an appearance of a strong woman managing (or not, in this case) to carry the weight of expectation that comes with the assumed ‘woman’s place’ in upper class houses such as this one in Pimlico, London.

As I collected up the fractured bodies / dropped eggs and attempted to create order in the chaotic pattern in which they had landed on the overly patterned carpet floor, the tension within the space was palpable. This room in this house in Pimlico felt extravagant—symbolic of a time of excess… so it felt like an act of rebellion to create a mass of abject mess: leaking eggs, leaking milk bottle, leaking vagina, and leaking wounds made by suturing parcels of fractured eggs to my chest. Yolk and blood traced the surface of my skin; a suggestion of both the erotic sensuality of mucous bodily fluid and the unruly nature of ruptured / ing bodies—transformed through life / living / birthing / dying.