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Sideways: A Review of A Great Hunger By Jessica Jobaris Mar 20, 2017

We compose ourselves 

 

Adjacent to intimacy.

 

Shudder white against

Authentic skin undone.

 

Humor covers honesty

In shades of

 

Tension chaotic bliss 

Found pleasure between 

 

Our own thighs.

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The information is in the flesh: An interview with Jessica Jobaris Mar 2, 2017

“I’m really into disruption.”

 

I knew the moment Jessica Jobaris said these words to me in a big-windowed café in Fremont on a bright winter day, I could trust her. And that once this critical relationship was established trust between the artist and the observer/participant (and in this case, interviewer) I could look openly into her experiences and therefore also into my own. I could learn from and be moved by her.

 

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The information is in the flesh: An interview with Jessica Jobaris Mar 2, 2017

“I’m really into disruption.”

I knew the moment Jessica Jobaris said these words to me in a big-windowed café in Fremont on a bright winter day, I could trust her. And that once this critical relationship was established ꟷ trust between the artist and the observer/participant (and in this case, interviewer) ꟷ I could look openly into her experiences and therefore also into my own. I could learn from and be moved by her.

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Colors and Queens: House of Dinah Dec 9, 2016

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Psychic Radio Star: The Self Is Born Nov 4, 2016

To witness Ezra Dickinson’s newest performance is to be invited into the birthing room, to be led by the hand behind the white curtain to witness raw emergence and then, after one birth, a rebirth, and another, and another.

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Zoe | Juniper Ekphrasis: Strength and Grace But Why // Studies in Vulnerability by Michelle Peñaloza Oct 21, 2016

Response from Michelle Peñaloza, OtB Writers Corps Ambassador

Place your feet upon my chest                       leap forward blind

Stop stop stop              get it right, her therapist’s here

 

let’s begin again

            the fourth border: a cylinder refracted in fringe

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Journey Back Home Sep 24, 2016

Verdensteatret Bridge over Mud is a perfect theater, the one that reminds of theater Edward Gordon Craig’s evokes in his essay “The Actor and the Ubermarionette.” “If you can find in nature a new material, one which has never been used by man to give form to his thoughts,” writes Craig, “then you can say that you are on the high road towards creating a new art. For you have found that by which you can create it.” (EGC, “The Actor and the Ubermarionette”, The Mask, Vol. 1. p.

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Sounding Off: Verdensteatret’s Bridge Over Mud Sep 24, 2016

There’s a 1929 painting by the American artist Arthur Dove that I’ve loved for a long time, though I’ve only ever seen it in reproduction. It’s called Fog Horns, and though you can read in it landscape and layers of atmosphere and distance, it is as much about sound as it is space, as Dove’s title signals. Concentric ovals suggest the way sound travels, starting loud and concentrated at a center and then softening as it moves out from its source, waves of sound over and overlapping waves of water. 

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Review: Verdensteatret's Bridge Over Mud Sep 23, 2016

Verdensteatret’s Bridge Over Mud begins with the same intention as the Annunciation but is different from the Latin version of Gabriel’s announcement to Virgin Mary. It begins, however, with the announcement of the arrival of glorious life. 

The screen on the left wakes up to light, light reflected by a primordial mud, somewhat mercurial in texture and color, moving in protoplasmic gestures, towards a unity of some sort.

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