“Untitled (Run)” is a 45-minute aimless run on a treadmill facing six pedestal fans in a nine foot long skirt and six-inch heels performed at the Andy Warhol Museum as a part of Trans Queer Live; a queer evening of performance, dance, poetry, comedy, resplendent fantasies, music, and more.
The performance begins with me standing in the middle of the foyer of the museum on a treadmill that is completely veiled by my skirt. Six pedestal fans face me, running on maximum power. A DJ in the space has been instructed to play “gym music.” As the music begins, I reveal the treadmill by lifting my skirt. I collect the skirt from the front of my feet, turn the treadmill on, and start walking. I gradually increase the speed of the treadmill to its maximum and run. The run lasts for a little more than 45 minutes when I’m completely exhausted by it.
I am femme-presenting male-bodied person and a situation like this run is very ordinary to me. I’m often late and running to get to class, to catch a bus, for a meeting et cetera and always in an inconvenient outfit. But there’s a moment within that run that becomes so cinematic and for a second I feel fabulous and aware that maybe someone’s watching, aware of queer visibility amidst the invisibility. I become very aware of my body and I perform it, I run faster, take heavier steps, make my jewelry jingle louder. The moment is a very complicated one where the formerly purposeful run loses its purposefulness fleetingly, and in that brief moment it’s just a run for an imaginary viewer or a camera; a fraudulent run. The performance is an artificial re-enactment of that ephemeral moment. The treadmill and the pedestal fans are the fraudulence, the run and my body is the only real-real. Often working inside-out (from the autobiographical to the external), I work from the paranoia of anticipating loss, to make work that has a sense of defeat, humor, change, and failure built into it. I’m interested in these manifestations finding themselves in the everyday as opposed to hyper artificial constructions. With the performance I look at addressing choreographed pain, the femme experience, a queer body, and, lastly, the absurdity of a gym.