On the first floor of the SIM gallery in Reykjavik, I would stand under a light funnel swaying back and forth. The funnel was closed around my neck, allowing no oxygen to enter or exit the funnel. I would whisper for my partner Paul to come to me, to be carried across the sea and settle here in Iceland with me. Throughout the two hours the performance lasted, the funnel would slowly implode, and condensation would run along the interior of the funnel, and the foil would stick against my face, changing the expression of the performance. The experience on the inside of the funnel was very different to the outside. The audience could see in, but I couldn’t see out. I was trapped inside this bright and highly reflective space, with no visibility of the audience.

“Sunson” dealt with a long-distance relationship and physical and spiritual longing, as my partner and I were separated by the ocean between Ireland and Iceland, due to work commitments. This was the first time we had been apart in two years. It was performed shortly before lockdown, which we spent together in his cottage in Ireland.