About Luca and Katrina Daync’s collaboration:

Artist’s like Joseph Beuy’s positioned (collaborative) art as way to heal, cure, fix societal structures, making collaborative art a place where everyone becomes equalized under the subjective identity of ‘everyone as an artist’. Beuys collaborative practice and sculpture, of waste matter resurrected as social sculpture, take on a trans-formative position, they seek to elevate and assimilate everything under the same. Static identity (everyone as artist) and the equilibrium it promises, is in line with the homogeneous, the assimilate-able: the ability to ‘position’ everyone/thing in a position, is what underlines everyday world of functionality , knowledge and capital.  

Yves Bois in Formless reminds that under this assimilation, societal waste/ abjects is purified, made hyginic, dried out – removing the abject (unknowable and in-between). Individuals who fall at the margins of societal (social, economic, temporal) structures -‘’adject societal members’’ (Bataille), individuals who are ‘other’, the unassimilated get inevitably removed.  As two neurodiverse individuals, the adjected; Luca’s and Katrina’s collaborative practice seeks to activate the abject/ the other in and through collaboration. Their collaborations operate as contamination/ infection (of central structures and each other as subjects) - to push spaces/ systems and subject’s central identity and stability to edges and back again and out again and back again and out, in constant oscillation. The collaboration becomes unassimilable. Waste (words, structures, time, suits) are oscillated- constantly – expanding beyond their meaning and contracting back to their centre of origin / understanding. They become abject- and like the spit/vomit of the mouth they become contaminant. Collaboration as contamination, not cure, becomes a place for the adjected neurodiverse brain to survive.

 How to achieve a position of abjection and contamination in collaborative practice? Works like Outside I and Coagulant (in current development) is a process of layering literally scrap metal structures- here the process of the pearl (excrement of the oyster-contaminant) is taken as starting point – each artist layers the others previous layer around metal (structures)- contaminating the previous work untill the original layer/ centre of the metal identity is lost – as is the identity of the single artist, intertwined with the other.

In performative rehearsal and wors like Host the process activates  contamination and other-ing of the subject also. Words spoken in an improvised format by both performers --- layering of words making it difficult to discern the origin , the center displaced- who is speaking? Who spoke first? Who is the other? The subjective identities/positions words afford is intermingled with the words of the other. The subject plummeted in instances of disjointed/interrupted words. The words oscillating between fully understandable and fractures. Live performance becomes a purging out -- all words are swallowed (improvised and read over a priori), purged out, spat out, – as if infected and infecting the space, of the single subject and the space’s single identity– dirtied.  

 Over the course of the research the direction and the exact origin of all work (Who deposited the initial idea or movement as debris)  becomes blurred and stretched, from origin/center to edge, until subjective identity of the artist contribution and object itself is shattered. Layered in the similar way to that of the pearl (excremental waste of the mollusk) where a single deposite is lost in multiple deposits layers- the performances the sculpures layered in words, ideas, touches, additions of material from one artist to the next until the work hangs on the edge, pearled, and excremental, other. The collaborative works form ongoing research project titled: ‘’center of research for pearl development’’.   . Pose/ release by both artists create a glitchyness in between abject temporal state, while the audience is othered between welcomed viewer and object in the way of the perfromers activities as way to expand the position of audience between object and onlooker.

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More independently, Luca contributed to dismantling and positioning of sculptures in Outside I and CoRPs in space in a counter-pose, weight is distributed unevenly- the pose allowing for a dynamic movement - a jittering of the solid sculpture. The use of the breath as contaminate prior to (Odd & organ) and within (utter glihitter)- which is echoed in the breathless activities- enables the infection of language, its meaning – collaborative communication as contaminated by the other, and the breath.  Moving from rags/ suits placed at all the bodies edges in early performances to single elongated gloves in current developments and utter glihitter was initiated by in part by Luca to expand on ideas for erotizing spaces (see statement). The Teams platform (Host) and inflated glove as way to layer and expand the space of the screen, the giff and condensing of the performances into a giff (Corps2), while expanding it using the gloves to reflection constant oscillation , breathless arrhythmic expanding contracting of space was initiated by Luca to stretch the collaborative explorations of space. Current works Luca adds idea of ornamentation of structures, inflated/deflated balloon gloves.

*CoRPs: Centre of research for Pearl Development.