Removing visible effects of saturation (excess water/moisture) through whitening walls/floors and removing ornamentation (defined by Bataille as excessive expenditure) from architectures is, for Luca, a move against embracing excessive – true wastefulness. Luca investigates, in collaboration with Katrina Dayanc, how societal desires to banish waste, that excess of things (waste time, waste activity) from spaces/structures is resonant to banishing excess crip-time or excessive movements, like stimming, required by their neurodiverse brain to survive. The excessive is unassimilable into societies' systems of fast-paced, individualism that determine functionality and capital. Explored through moisture, ornamentation and eroticization of dominant structures/spaces, works become an embrace of wasteful excess as way for neurodiverse brains of these artists to survive.  

Moisture and saturation become elements of the works to eroticize space’s, where eroticism is defined as the ‘pleasure of excess’ and ‘junction of life ascending and meeting death’. Dry relic remains of buildings, as Tschumi states, are pure, ‘sanitized’ waste, assimilable into archives - useful (not wasteful excess). Saturation (excess moisture) of scrap metals using water/vinegar, soaking them in rain, rusting with oxygen (Outside-I), breathing air into used latex gloves (CoRPs) and pipes (Ood-Organ), extends the status of these materials as dry dead waste, assimilable in archives, to undead...in-between, abject, true waste. Saturation, conversely, when put on relics/scraps (see current developments, Outside-I), catapults waste into a putrefying position – of unsanitized' abject decomposing corps. Remains fall between fleshy life and dry bone – life ascending and meeting death. Water (breathiness, liquid) pushes parameters of societal spaces (universities, theatres.) and sculptures to excess, literally, and metaphorically as their identity becomes multiple, living and dead/past-self. These zombie works hold jittery temporalities, expanding contracting between living and dead; they embrace ‘’pleasures of excess’’ - excess identity, space, temporality. In turn eroticizing societal spaces/structures to sustain the artist’s neurodiverse brains’ need for excess, and as excessive, pushed to edges of societies structures, like waste itself, unassimilable.  

In performance, performers consume and accumulate words during rehearsals. Saturated with words from repeated improvisation, live performances become places to spill, drip, purge words consumed, layered and contaminated by the other. Performances become wasteful energy. Through poetic leaking words, breathy moist interruptions, and pauses/movements, words become nonsensical, so does space's functional identity. Spaces glitter between dying identity and living anew. They’re plummeted into delirium of intended functional identity and reality. This multiplicity rendering them excessive and useless. 

For Etchells & New-Noveta, documentation becomes active/performative through score or blur. Luca began utilizing poor blurry images to document performances (Excreted speech-2, ,CoRPs, Host). The blurry poor documentations/archives aren’t rags (Hito Streyle) but wet rags- images putrefying- used to extend the jittery words, movement and temporality of the performances. Poor images as Streyle theorizes, are jittery, constantly expanding and contracting between image non-image. Archiving performance using blur throws work into stuttering between becoming- like the zombie instruments (ood organ). Archiving performances using blurry quality abject the archive from dead to undead.  

The extended glove became a key mechanism to eroticize spaces and things – embracing pleasures of excess. Extended gloves above the elbow are excessive in their materiality and fetishistic symbolism, as noted in 15th and 16th century paintings. In ‘’CORPs’ the inflated/deflated surgical gloves eroticize space of the screen/Giff (compressed communication file), by expanding it with their reflective properties, expanding gaze beyond the projection. Recently, rags of past performances are converted into elongated gloves for utter glitter, integrated with felt and plastic, their identity is itself excessed– multiplied- as is the performer who wears them moving between feral and domestic suit. The performer is thrown off center in identity and literally as they follow the inflated gloves erratic movements in a parodic interview/balloon game. The extended and inflated gloves privilege excessive- multiple identities, eroticizing the GIF space, making space for neurodiverse brain to survive as a between/abject being in this societal communication file. Exploring excessive multiple identity is extended in recent degree show through lip syncing with live voice and past recorded performances, as well as in Host using feedback to layer voices till source/identity is dislocated from the center to the edge, to the place of the waste.  

Grayson Perry’s talk on ornamentation reminds us that architectural functionality (utilty being opposite to waste) is achieved by removal of ornaments- the ornament resulting from useless ‘excess expenditure’. Moving between functionality (as a support) (CoRPs) and ornamentation (decor), the  glitter metal cuttings and inflated/deflated gloves add ornamentation and excessive useless breath/moisture to works. Words in performance, like that of ornamental glitter, are cut up by interruptions or breathiness. Decorative pauses and poses add humor where laughter becomes like ornament- useless excessive energy.  

Pushing intended functionality of a space (like the wall or Giff) OR thing (like gloves) , to remain only at the edge would however return waste and space back to a place of assimilation, hence in all works, spaces and things become glittery.