This play is a reflection on the (im)possibility of accepting diversity and the other. The fragmented body of the neoplasm—the fruit of unstable conditions—overcomes barriers, loves and denies itself and others, wanders around, forgetting its profession. It frequently and with pleasure divides, goes through dangerous palpation, questions the possibility of contact with the experience of the other. Poorly brought up but very successful, it invites us to a trans-species transition.
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Huge pieces of found objects - car parts, aluminum gutters, chairs from the 1950s, heating ducts - are mounted on large wooden panels. Each is painted in metallic colors, solid reds, blacks, and stripes of blues and green. The assemblages lean against the walls, facing each other.
Artist Statement
B.C.C. 3000 is about the process of defining units. It stems from a fascination with cubism but focuses on one aspect of a stream of consciousness -- the cities and cells. It is derived from the notion that ideas and information obtained through multiple interpretations have diluted the origin of idea. This dilution, as I see it, is creating a hybrid (or lo-brid for that matter) for reinterpretation due to the effect of distance in understanding where from, where are, and where to. For now, the cities are the mechanics of dilution and absorption. The cells are the foundation of these units. They are about each other.
