The above image is of me performing privately for the other artists collaborating in the Feed Back & Forth project in Zürich. Attempting to, I should say. The large group (12 of us from 5 or 6 countries) was having a very difficult time resolving some deep differences. Things were near the breaking point & we made these private performances for each other in an attempt to heal & bond. The attempt didn't work, not really, but nonetheless was a much-needed interlude of reality. And by & large these individual pieces were much better than the collaborative ones. What I'm doing above is to force my body into a square area of floor space that is cordoned off by strong rope (or elastic rope or something) - to penetrate that area far enough so as to be able to reach some golden potatos & kick them out of that area.

Yeah - well - fine - you try to explain the performances that you do & see if they sound any less stupid, okay?

This image above is of the evil performance rebel secessionists (me, Yvonne Austen, Fritz Vogel & Mark Hudson) waiting for the tear gas cloud to reach our performance site, a small traffic island on a riverside street in Zürich. There was an anti-automobile riot that evening - it is a long & pretty good story that I will write down elsewhere. I am the figure with my right arm raised to my head, standing out against the white cloud. Yvonne is departing the scene with her 8-month-old baby Ebba.

Up Late With Bill & Hillary was Lise Swenson's & my sequel to "The Washington HillBillaries: The A Teams" performance at The Lab. If you click on the image you should be able to read the text on it, which explains the premise. This was typical of the work that Lise & I made together: create some sort of semi-ridiculous scenario framework & invite people to more or less autonomously create characters & perform inside it, in front of an audience. The fourth walls of these things were always very porous.