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Les Bijoux Indiscrets, or, Paper Tigers (2017)

I’m an interdisciplinary artist, writer, researcher, and translator. My text- and research-based practice spans poetry, performance, lecture-performance, video, translation, and multimedia collaborations. My work is a form of polyvocal and opulent research into the ways we are choreographed by language and often visualises, embodies, or translates text via costume, movement, interaction with sculptural objects, and installation.

I am the author of My Little Enlightenment (2019), Transpositions (2018), Meat (2015), Fantasias in Counting (2014), and 12 Steps (2012), and the translator of Uljana Wolf’s Subsisters: Selected Poems (2017) and i mean i dislike that fate that i was made to where (2015). My piece Les Bijoux Indiscrets, or, Paper Tigers was performed at La MaMa Galleria in New York in March 2017 and at Bold Tendencies in London in September 2017. My performance and installation Emilia Galotti’s Colouring Book of Feelings was selected for Art Night London and presented at the Bargehouse/Oxo Tower in July 2018. My first solo exhibition My Little Enlightenment Plays will open at SPACE in Hackney on June 13. I’m also writing a book of lyric essays on form and feminism, teachers of reading and pinched nerves, slickness and difficulty, tentatively called Lessons of Decal. You can follow me on Instagram.

I am currently a Research Fellow at Queens’ College, University of Cambridge. My book Provisional Avant-Gardes: Little Magazine Communities from Dada to Digital is forthcoming from Stanford University Press in July. I’m interested in thinking, writing, and talking about twentieth- and twenty-first-century avant-garde writing, performance, video and mixed-media art; practice-based research; transhistorical print and publishing culture; aesthetics; queer-feminist theory; translation and multi-lingual writing. (faculty page) From September 2019, I will join Boston University as an Assistant Professor in Poetry and Performance.


sts31 [at] cam [dot] ac [dot] uk

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Photo credit: Anika Komarowski