In my live-performance work I explore movement, materials, and duration by hybridizing particular strategies and structures. The live events of a performance are for me meditations on human relationships, solitude, disobedience, dwelling and the utilitarian.

The imbedded sensibility, sensuality and sensation of a place, objects, clothing, and the body, impart a work’s syntax. I consider and use this syntax while crafting and composing the physicality of a work. The functional and aesthetic qualities of each material, provides the content and form simultaneously. I design and sew the clothing, build objects, collect things, and compose these material components into and out of one another. During performance each physical aspect serves in its stillness, movement and shifting relation to one another. As it all comes together, I seek the entropic tendency within organized systems and wish to disturb them, so they might resettle differently. Movements, materials and bodies unfold, unravel, and leave traces only to be refolded, raveled, and erased.

I resist certain linearity by devising interconnected scores and constraints for embodiment, action and improvisation. These constraints are determined uniquely and accordingly to the specific capacity and concept of each piece. Improvisation is a practice of observing, listening and of participation. It is a place to experience acknowledgement, unknowing, the effort to understand, and the willingness to live. The score shapes the improvisation through a sequence of points of contact, actions, and combinations. The necessary limitations fuse together concentration and openness. Through this complexity I question the tools in which we use to navigate between the inner and the outer.  

The body inhabits the everyday and the poetic, blending the familiar and strange. I leave the boundaries of performance spaces blurry and acknowledge the challenging exchange between performer and viewer. By calling out my audience, by getting into close proximity, and by confusing our casual and abstract behaviors, I try to shorten the distance between performance and witness. As such, the work lives in many contexts, galleries, studios, theatres, homes, the public, and for audiences of many and audiences of one.

In both my solo and collaborative projects, the studio practice and performance events are rooted in somatic study. We listen to the body, engage and heighten the senses, then observe and participate with the world within and without.

B I O G R A P H Y :

Amelia Charter is a performance artist, teacher, and writer. Charter regularly performs one-on-one, and both her solo and collaborative work has been featured at Sector 2337, Defibrillator Gallery, Mana Contemporary, Co-Prosperity Sphere, Links Hall, with Second-Floor Rear, and at the Bits and Pieces monthly Salon in Chicago, and in artist-run organizations and larger curations in New York, Philadelphia, Los Angeles, Denver and internationally in India. She earned her BA in Performance and Directing, was co-founder of Denver Performance Research, and received an MFA and fellowship in Performance from the School of the Art Institute of Chicago. Charter is currently working with Brooklyn-based artist KJ Holmes.