Pizza Hulk

2015

City Wide Open Studios,

New Haven, CT

 

A performance inside of my installation Kitchen Island.  Pizza Hulk begins with me singing an endearing song to a frozen pizza. The box specifically says it is a “Pizza for one.” I serenade the cooking pizza and when it is finished baking. I attempt to eat it with a mask and gloves. The pizza is demolished and the masculine exaggeration I embody is left hungry and messy.  An inflated grasshopper emerges for a box of tissues decorated as a lime wedge.

 

Photography Chris Randall 

 

Kitchen Island

2015

City Wide Open Studios,

New Haven, CT

 

A performance inside of my installation Kitchen Island.   For this performance I have a phone conversation on a plush toy banana with a voice modulator built into it, altering my voice.  While on the “phone” I prepare a “meal” of a variety of non-edible items selected based on color.   This performance is about the ambiguity of conversation and transforming a personal space into a public space for the sake of entertaining guests.   

 

Photography Sean Patrick Stevens 

 

Cereal Cave

2015

Glass Box Gallery

Seattle, WA

 

More elements of ritual, procession and inventible degradation of the performer are articulated in this piece.  This performance addresses concepts of surface and spectacle intended to examine the intersection of art, audience and amusement.

 

Again, I used many symbols present in David Lynch’s film Eraserhead from 1977, to locate an intersection between poetry, horror and resolution. 

 

An original score written and performed by Seattle based musicians Peter C Murray and Boyd Pro accompanied the performance.

 

Photography by  Mario Quintana

 

 

 

Balanced Breakfast

2014

The Blue House Gallery

Dayton, OH

 

 

This performance addresses concepts of surface and spectacle intended to examine the intersection of art, audience and amusement. Balanced Breakfast was a performance done conjunction with my exhibition Cerreality at The Blue House Arts Gallery in Dayton, OH. I attached a bowl to my head and attempted to eat cereal out of it without spilling. I inevitably fail. Motivated by ideas present in past performances, nostalgia, failure and the degradation of the performer.

Kitchen After Dark

2014

New Britain Museum of American Art

New Britain, CT

 

This performance took place during a Halloween party at the New Britain Museum of American Art. Like most of my performances this was loose three-act narrative with costume changes. Kitchen After Dark was about objects found in a kitchen and reinterpreted through action and song. This performance revolved around the idea of finding a piece of junk food on the ground and discovering a candle inside of a carrot. 

 

An original score written and performed by New Haven based musician Bill Becket accompanied the performance.

 

Photography by Phillip Fortune

 

#goplayintheyard

2013

Park(ing) Day,

Greater Hartford Art Council,

Hartford, CT

 

Installation and performance for PARK(ing) Day, an annual open-source global event where citizens, artists and activists collaborate to temporarily transform metered parking spaces into “PARK(ing)” spaces: temporary public places.

 

I constructed an overtly artificial tree and tire swing surrounded with real sod.  Both apocalyptic and hopeful, my installation addressed the loss of green space (reality), construction of artificial space (fiction).  Inspired by Dennis the Menace and Huck Finn, I posture as a stereotypical adolescent delinquent playing in a context limited by a parking meter expiring.  

 

Slime

2012

Broad Street Gallery

Trinity College

Hartford, CT

curated by Beena Azeem

 

A performance equally inspired by Austrian performance artist Hermann Nitsch, Nickelodeon and MTV television programs from the 1980’s.  Elements of ritual, procession and inventible degradation of the performer are articulated in this piece.

 

For this performance I wrote and performed a song: “Never wanted to get slime on me/oh no, oh no!”   Revealing to the audience the performer's desire to avoid slime.  Mid-way through the musical performance an anonymous figure walks slowly though the gallery holding a bucket of slime.  The tension is present, and the inevitable sliming occurs.

The Works of

Jeremy Milk Toast

 

2011

Alt Space

City Wide Open Studios

Artspace

New Haven, CT

 

 

This performance addresses concepts of surface and spectacle intended to examine the intersection of art, audience and amusement. Inspired by performance art from the 1970’s and MTV’s Jackass, I reference bodily danger through physical feats; danger is out weighted by the potential for humor and failure, a common theme in contemporary media.

Iron John 2.0

2012

NOW ON, ATOM Space

Hartford, CT

curated by David Borowski

 

This performance is an interpretation of the book Iron John: A Book About Men written by the American poet Robert Bly in 1990.  Bly uses Jungian psychology and various myths and legends to address contemporary topics of gender. I also used many symbols present in David Lynch’s film Eraserhead from 1977, to locate an intersection between poetry, horror and resolution. 

 

An original score written and performed by New Haven based musician Bill Becket accompanied the performance.

Doppelganger Banger

2011

Alt Space

City Wide Open Studios

Artspace

New Haven, CT

 

 

For this performance I constructed a piñata self-portrait and destroyed it. Art imitates life. Artist imitates Art. Artist destroys art in order to imitate life.

 

I am interested in piñatas for many reasons: history, celebration and birthday parties of my youth.  Piñatas illustrate the postmodern premise that something must be taken apart (destroyed) to be understood (enjoyed).

Playing on the Stairs

2011

The Grove

City Wide Open Studios

Artspace

New Haven, CT

 

 

An installation resembling a living room set made from piñatas is destroyed.  Addressing ideas of inconsequential adolescent aggression and temporality, this performance is inspired by Paul McCarthy’s aesthetic and his interest in mundane activities and the mess created by them.

 

An original score written and performed by New Haven based musician Bill Becket accompanied this piece.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Videography by Chris Joy from www.gorkysgranddaughter.com

 

Video length 4:45 minutes

 

 

 

 

John O’Donnell's Front Yard Monster Movie Magic Show

2010

Proof Gallery

Boston, MA
curated by William Matelski

 

Front Yard Monster Movie Magic Show was filmed in front of a live studio audience. This performance is driven by an "Ernest Goes to Camp" aesthetic while referencing Samuel Beckett and the Theater of the Absurd. All visitors where “on set” and participated in the performance as actor, stage hand, robot, warrior, vacation lady, professor or monster and assisted in the creation an unscripted “monster movie magic show.”

 

 

 

 

Blueberry

2010

New Media, Sex, and Culture in the 21st Century

Museum of New Art

Detroit, MI

curated by Steve Coy, Jonathan Lillie and Jef Bourgeau

 

BlueBerry is an inversion of Vito Acconci’s notorious Seedbed. Rather than a performer hidden from the visitor, vocally expressing desire and pronouncing his ejaculations, in BlueBerry the performer will be visible to the public, abstaining from physical pleasure but absorbed in the private experience of viewing pornography in a public location.

 

 The title BlueBerry is in reference to the term “Blue Humor” which denotes lewd, profane or obscene humor. BlueBerry is also a reference to a society that is perpetually tantalized by imagery and suggestions, through increasingly varied and mobile technological media, that inflame physical desire but fail to offer satisfaction or release.

 

 

 

Puppy Safari

2010

Visual Arts Resource Center

Open Studios

University of Connecticut

Storrs, CT

 

Puppy Safari is a performance addressing topics of mass production and quality.  I act as safari guide and ultimately reveal a box of puppies.  The puppies are small battery operated toys purchased at the dollar store that walk and bark.  Made from the lowest quality materials the puppies will only operate for a few minutes before the batteries or mechanics fail, rendering the toy “dead”. The performance ended as the last puppy slowly broke down and quit functioning, creating a Darwinian parable of evolution and predetermined demise or failure.

 

 

 

 

 

Radical Dinosaur Maniac Time Machine Gun Shark Explosion

2010

Jorgensen Center for Performing Arts

University of Connecticut

Storrs, CT

curated by Rita Lombardi

 

This performance follows a three-act narrative structure, complete with costume changes and a set altered by the performed actions.  This performance embraces misguided nostalgia as a vehicle to understand the vexing existential obligations of adulthood through illusions of picnics, sleepovers, magic tricks, feats of strength and Kool-Aide stains on a carpet.