cotton wool wadding
Gray's actions and materials are simple, precise and although almost clinical retain an overriding sense of femininity.
The stuffing was suffocating and silencing, its controlled and meditated manor quietly screaming.
Gray's removal of her dress was clinical and neutral in form; its precision and moments of stillness generating meaning. Holding the dress over her head it became both a flag and a triumphant statement, but also a shield and obscurer of identity. The darkness and weight of the dress furthered this sombre sense, starkly contrasting the blandness of tights and body. The tights grew out of this invisibility and became strong and flexible. When stretching and opening the tights physically, Gray let us into the work, artist and concepts of the performance. As with Gray's persona when performing this was gentle yet incredibly poignant. The containing and consumption that preceded this, again secretive, inevitably let the audience in. Stuffing and chewing the tights from a distance, in isolation, yet choosing to poo them out her mouth when surrounded in close proximity by the audience.
Gary’s final action reflected what was to become a poignant evening of action for the emerging artists of the UK performance scene. Gray choose to use the remnants of Colm Clarks performance, becoming the third line of milky residue. This attentiveness towards others work set the president for the subsequent group action which was felt by all involved to be a turning point in collaboration and unity between up and coming artists and organisations.
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