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Gaynor Evelyn Sweeney


Performance Artist, Gaynor Evelyn Sweeney, has been invited to the Performance Art Festival in Cleveland, Ohio, USA. A graduate of Liverpool John Moores University, she has rapidly gained an interest in the international art world. Her work explores the relationship of the human in today’s society. Each performance diverse and captivating. The audience encapsulated in a realm of subconscious desires, memories and recognizable references.

The Performance Art Festival is organized by Thomas Mulready of Cleveland’s international ‘Performance Art’ and will be held Friday 6 June 2003 at the Cleveland Theatre. This festival will include other renowned artists, such as Blue Man Group, Guillermo Gomez-Pena, Lorena Wolffer, Julie Laffin, Annie Sprinkle, John Fleck, Reno, Ivan Rados, Seiji Shimoda, Rachel Rosenthal, Ping Chong, Goat Island, and Raphael Montanez Ortiz, among others.

Her earlier live performances consider the canonization of art and the transitions embodied through history in the human form, recontextualising the institutionalized to the contemporary ideologies and conventions. This is shown in a piece titled, ‘Ars Gratia Artis’, a live performance in the Louvre, Paris.

She has collaborated with many other artists, learning from other cultural sources and was part of the Liverpool Biennial 2002. She is also recognized for swimming in Marc Quinn’s installation, 1+1=3, during the Press Launch at the Biennial, but besides this eccentricity, she is a dedicated artist, both in practice and discourse.
Website address for Cleveland Performance Art Festival.

Contact details (not to be published):
Gaynor Evelyn Sweeney
Mobile: +44(0)7904025890

Live Performance by Gaynor Evelyn Sweeney

Bold Street
Liverpool, Merseyside.
Saturday 28 June 2003
11.30 am onwards.

A performance based around the temporal and spatial relativity of what flesh constitutes, reflecting on the canonised ideologies of the human form and the proclivities of desire and passion as perceived in the context of the Marquis de Sade and other writings with philosophical implications. Exploring the historical philosophies from antiquity to testing the boundaries of the professed libertine ideologies of contemporary society, in contrast to the clandestine predilections as denoted in the tangibility of our senses and perceptions.

“…There is not a single virtue which is not necessary to Nature and conversely not a single crime which she does not need and it is in the perfect balance she maintains between the one and the other that her immense science consists; but can we be guilty for adding our weight to this side or that when it is she who tosses us onto the scales? No more so than the hornet who thrusts his dart into your skin.”
Dialogue Between a Priest and a Dying Man (July,12, 1782), Marquis de Sade.


Welcome to the Avant-Garde
The Performance Open
Friday, June 6, 2003, 8.00 pm
Cleveland Public Theatre
6415 Detroit Avenue at West 65th Street
2003 Live Performance
Thomas Mulready (Founding Director)

Gaynor Evelyn Sweeney (Liverpool, England)
Concept and Direction: Gaynor Evelyn Sweeney
Performers: Gaynor Evelyn Sweeney, George Lund.
Cinematography: Tony Knox
Production: Gaynor Evelyn Sweeney © 2003
Harpist: Stan Ambrose


The event is recorded as it happened, a live event in the public arena. The setting is an ancient tunnel in Sefton Park, Liverpool, England. A chicken and a veiled androgynous form set the scene, with a middle aged harpist presiding over the entrance to the archaic passageway. As the tender resonance of the harps strings fill the air, so too does the reality of the time and place this performance is actually happening: a chorus of birds, the rumble of traffic, the explosion of a plane fly over. However, reality is confined to the atmospheric reverberations, while a relationship between the chicken and shrouded participant commence. Through no exchange of words, a discourse transpires, controlled by direction of chicken, who has harnessed the veiled figure. The dominance of chicken is dependent on the subordinate translating the interrelationship. Although this is symbiotic to realise their purpose, the chicken then discloses the identity of the shrouded figure to one of a Pre-Raphaelite female, only to govern this cultural form by bounding her to the chair. Ensnared, she can not escape, but for eternity canonised, as the chicken succumbs to mortality and rests as a relief on an ancient tomb.



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