Evaniida +To the alien worm lover I fantasize about.
Book, prints & design objects
2020-2023*

Evaniida is a series of sensual objects including wax play candles,
pouring wax cups and non-human strap-on belts. The project is
collected in a book of photographs called To the alien worm lover
I fantasize about. which contains a text Lipoma- Sting pregnancy
featuring an alien character from Octavia Butler’s Bloodchild.
Bloodchild is one of the first well-known texts to contain an
AMAB and transpecies pregnancy story.

The project was first developed as a self-grounding tool in
response to the Covid pandemic, which for many people resulted
in a lack of bodily intimacy, corresponding with increased time
interacting digitally/virtually.

The project was par of the show “FOR ADULTS
ONLY”, curated by Club Kin.X at Transmission
Gallery, Glasgow, 2023

A shop is available on bigcartel where you can
objects & book :
adoreadore.bigcartel.com




Photographs on C-Print, 90x72cm each
Part of the show “FOR ADULTS ONLY”, curated by Club Kin.X at Transmission Gallery, Glasgow
2023
         



To the alien worm lover I fantasize about.
pages 
28
size A4
available link for shop available soon






Space Sporification
Durational performance
2021-2022
         
Being a facilitator
Persons in the space, touching, holding Herma
Outerspaces voices
A dancing spaceship
A foam machine spreading the spores
-
3 sensors “Herma” shared in the crowd, measuring a collective rhythm 

-list of interview participants):

Aph
Cheyenne Bouchet
MV Brown
Eline Bry
Eden Dodd
Hannah Edward
Axel Gutapfel
Brontë Jones
Harvey Lancaster-Rous
Aga Mlynczak
Francisco Ortega
Alba Sofia
Adam Stearn
Clarinda Tse
Alex Turner
Jack Wannsborough
Transcription:
Miranda Stuart

Programming :
Selina Leung (aileenacs)







Kunstmuseum St-Gallen, Switzerland
Curated by Martina Morger and Laura Van Der Tas
2021
-


Photography of the performance by mani froh and Fabienne Watzke







Centre for Contemporary Arts, Glasgow
Part of Double Thrills Curated by Buzzcut
2022
-

Photography of the performance by Tiu Makkonen
Make-up and facial adorment paint by MV-Brown




Excrept of some interviews






















Transitional object
Archival pigment print on self-adhesive Hahnemühle and archival pigment print on Hahnemühle, framed, 425 x 225 cm
           

Working with young children, Donald Winnicott (1951),  introduced the concepts of transitional objects and transitional experience in reference to a particular developmental sequence, an intermediate developmental phase between the psychic and external reality.

In the Transitional object series I explore the intimacy of the healing process from dissociative amnesia disorder - a condition I have experienced from my teenage years to my mid-late 20s: the time when I began to create the images of this series.

Dissociative amnesia is characterised by memory challenges and lapses, which most likely developed to protect an individual from the trauma they experienced. A memory gap may be specific to a past traumatic event or a broader length of time. The gap may be narrowly focused on certain details of an event or time frame, or it may be broad, and the individual loses memory of their own life history and the understanding of what makes up their identity. 


The photographs were created before, during and after my awareness of having this condition. The images can be thought of as a documentation of my state of mind whilst I made my way through. Often made in my own room – like a child playing in theirs, with a sense of security - aided by an accompanying process of therapy sessions, meditation and image building and lucid dreams, the protective wall that was preventing the access of some forgotten memory slowly broke down.

The series takes the form of a tale, narrated via a constellation of events, characters and landscapes: a dried male sea-horse (the male bears a brood pouch in which a female lays eggs, until they hatch) is a the feeling of my own femininity/trans-identity ‘drying up’ in the environment I grew up in; a floating axolotl (which reaches adulthood without undergoing metamorphosis) represents the idea of the queer core I need to protect myself; the hornet nest is female structure and society; the spiral in the hair of a man is the idea of a repetitive cycle.

Kathryn Crabb, a contemporary psychotherapist, confirms the inherent link between trauma-healing and tales: “The importance of the Old Stories unfurls far beyond entertainment or historical interest. Their therapeutic value is less in their overt content than in their symbolic depths: the Old Stories are archetypal. That is, they bring to life invisible blueprints for diverse parts of the human psyche, intangible reflections of the basic impulses that exist within each of us.”

          

Transitional object was nominated at the Swiss Design Awards 2015 : link


Exbhition at the Swiss Design Awards, Basel, 2015





Earth absorption - memory landscape
16mm film transfer on digital
0:36 in a loop
2015




New body, unknown numbers of limbs
Research
2021-on going
         

The human torso is a mythologised, politicised and gendered part of the body. Societal struggles play out from the human torso as focal point and metaphorical battle ground, over issues such as sexualisation, breastfeeding, ideals of the ‘right’ kind of torso to fit a binary gendered system, representation of post-op bodies, and much more.

On a related note, the idea of LGBTQIA+ people 'lying about their identities and desires' is not new, and is deeply connected to the colonising thought of ownership over someone else's body (as explored in the documentary the Disclosure).

This intersection between the idea of a 'right' kind of torso, and the authenticity of Queer desire, is what I want to explore and create from.

The pneumograph of Verdin, a maker in Pars, is an early 20th century chest device that measures irregularities in breathing; the amount of air present in the pulmons impacts the resistance of the current that is injected across the chest cavity.

The device was first described in a bill entitled Man and abnormal man (1905) by Arthur MacDonald - a report measuring default and 'abnormal' bodies, establishing the first steps towards the place of body signal sensors within the realm of law enforcement, marking the beginning of the legacy of the history of the lie detector.

This is a history deeply intertwined with bias against LGBTQIA+ and BIPOC, surreptitiously with the creation of the 'default body' as the valid referent for body signals measurement, but also more explicitly with the development of devices such as the Vaginal Photoplethysmograph, a device measuring women’s physiological changes during sexual arousal in the context of second-wave feminism in the late 1960s and early 1970s, or the 'fruit machine', a device developed in the 1950s that was supposed to be able to identify gay men (derogatorily referred to as 'fruits').Nowadays, thermography is still the method used that is seen 'to be a valid method for assessing human sexual arousal' (Archives of Sexual Behavior).



         

Research has been supported via different residencies/awards:

CCA Creative Lab:
https://www.cca-glasgow.com/programme/

Vacma:
https://www.creativescotland.com/funding/funding-programmes/funding-delivered-by-partners/visual-arts-and-crafts-awards



Online performance at Stereoskop, 30/04/2020



In 1905, The pneumograph of Verdin, was first described in a bill entitled Man and abnormal man (1905) by Arthur MacDonald - a report measuring default and 'abnormal' bodies. Establishing firstly the default body in the realm of body signal measurements.


Abnormal is a general term of the beginning of the 20th century that has been used in a range of ways to refer to, amongst other things, people with mental health or physical disabilities, LGBTQIA+ and BIPOC.






Image from the paper «Eye in the Sky Real-time Drone Surveillance System ​(DSS) for Violent Individuals»

Lagrangian Method used to extract spatial information from 2D CCTV cameras





8 frames sequences of a gesture considered as a violent movement.

Excerpts page of the book «Modular» in which LeCorbusier developed an anthropometric scale of proportions. It was developed as a visual bridge between two incompatible scales, the Imperial and the metric systems. It is based on the height of a man with his arm raised. The man’s height is 6’’ or 183cm. Which is also my own height.

Buer is a spirit that appears in the 16th-century grimoire Pseudomonarchia Daemonum and its derivatives. They teaches natural and moral philosophy, logic, and the virtues of all herbs and plants, and is also capable of healing all infirmities (especially of men).
Photogrammetry scan / first methode of comparison. Too much glitch



Comparison between photography of myself and an avatar made in the 3d software called «MakeHuman» which predicts your physical traits based on your body measurements.





Sequence of movement recorded with a motion capture device. The performance is using breathing methode to bring angry/distorsted fast and unpredicable gestures, which can be potentially linked to the detection of a violent behaviour in surveillance technology.




Sequence of movement recorded with a motion capture device.  Movement close to a butoh or the peacock spider mating dance + crossdressing in order to test the accurancy of the AI to track the movement.



last update 06/01/2021

Non-binary as a spaceshift
Durational performance
2021


Performance progression throughout the month of August 2021 at Arti et Amicitiae, Amsterdam:

7.8.2021 : 1h20, remote performance, non-linear progression, group of audience staying from start to finish, intro + exit screen, feeling of excitement at the beginning slowly fading

14.8.2021 : around 6h, remote performance, webcamf showing sensor device, linear progression, variable amount of persons,

21.8.2021 : around 5h, on location performance, being around the exhibition, sensor on my left hand, some persons recognise/spot the device while I attempt other artists' performances.

28.8.2021 : around 5h, on location performance, allowing myself to just be in the space, no self-direction or expectation of doing, state of quietness





Using a sensor, my heartbeat is translated into a video game engine and varies the speed of an animation. I may or may not be present within the gallery space.

I have recorded the voices of queers and non-binary individuals, asking how they would conjure their own identity in a tangible form, how they would see their body if technology were limitless, and to recall a strong bright memory.

The animation revolves around a spaceship orbiting a star. Inside the ship are the voices, forming its crew, and the voices also form the organism of the ship itself, an interconnected generative system.

list of participants:

Aph
Cheyenne Bouchet
MV Brown
Eline Bry
Eden Dodd
Hannah Edward
Axel Gutapfel
Brontë Jones
Harvey Lancaster-Rous
Aga Mlynczak
Francisco Ortega
Alba Sofia
Adam Stearn
Clarinda Tse
Alex Turner
Jack Wannsborough
Transcription:
Miranda Stuart

Programming :
Selina Leung (aileenacs)
Performance photo: 
Katy Hundertmark

Artwork in the space:
Rodrigo Sandoval, Kate Fahey and Jack West