R E S I D E N T   A R T I S T  ,  T A P   C E N T R E   F O R   C R E A T I V I T Y
S E P T E M B E R  2 0 1 8  -  A P R I L  2 0 1 9

from september 2018 to april 2019, i was generously granted a studio resdency at the TAP centre for creativity in london, ontario. as artist in residence, i used my space to conduct performance-based research, develop two new dramatic works (we all got lost and patchface), experiment with my interdisciplinary creative practice, and creative a london-unique site specific performance piece entitled "objects: london, portrait of a city" that would premiere in my residency's final weeks. my artist residency at the TAP centre was made possible by the generous financial support of western university's ahsc student donation fund grant. 

sublimity and compression is an expression of the sublime, the natural world, ecstasy, geologic time and the anthropocene (and/or pre- and post-anthropocentric imaginings), and the body/soul tension via animation and multimedia technologies.

sublimity and compression: toying with the sublime in a humanist-posthuman space.

what does it mean, in theory and in practice, to leave the "human" and its body behind? why are we as a culture so fascinated with our own annihilation, with notions of dismemberment and disembodiment? how do these images haunt our artistic practice and, if we are all already "posthuman", what new forms should our artistry and scholarship take? 

my work aims to explore a visual and performative poetics of hybridity and disembodiment by way of a reciprocal relationship between theory and practice. i am interested in the marriage of performance and posthuman theory, in drama and performance work that attempts to displace or erase the physical body as a site of information and the failures resulting therefrom.

in my current practice, i have playing with themes of control by exploring the tensions between the digital or virtual body and the ever-changing, unsustainable realities of the performer's present physical self. 

i strongly believe in the power of practice-based research as a logical next step to theory. performance is in itself theorizing and not solely aesthetic and, on the flip side of that, theory can not exist in a vortex independent of artistic practice.

in the artist is present in her own self-erasure, you are made privy to my intimate creative process through the ghost of my corporeality.


* featured prominently in the TAP gallery space from September to November, 2018.

in the artist is present in her own self-erasure (above), installed temporarily in the tap centre for creativity gallery space.

body, body (left) - a series of postfeminist portraits, reels, and experimental body-based practices. conducted in-studio in september, october, and november of 2018.

an abridged body, body was presented as a part of objects: london, portrait of a city in march of 2019.

S T U D E N T  W R I T E R - I N - R E S I D E N C E  ,  W E S T E R N   U N I V E R S I T Y
S E P T E M B E R  2 0 1 8  -  A P R I L  2 0 1 9

my artist residency at the TAP centre coincidentally, and very advantageously, coincided with a generous writing residency i was offered in my fourth year of study at western university. during this busy time of residencies, i gave several talks, presentations, and readings in both the western and london communities. my office hours were held every week on western university campus at the same time i was occupying studio 2D at the TAP centre. several of the posters from my more public lecture events have been included below although i was also a frequest guest presenter in writing studies classrooms, specifically to speak about my work in playwriting and theatre creation.

e: info.camilleintson@gmail.com
b: thecamiliad.wordpress.com

w: camilleintson.com