Lo Bil

Techniques & Methodology

lo finds images through physical improvisations, spoken loops, and material interactions.  She sources questions from an improvisational stream-of-consciousness process that has come from studies in Visual and Performance Art and a rethinking through Pochinko clown, Grotowski-inspired source work, sensory cinema, experimental poetry and contemporary dance forms.  Her performances have been called raw, unrepeatable, amusing, transparent, and involve a feedback loop with the audience.

Lo’s methodology involves expanding aspects of practice across short-term projects to increase performance-making potential within economic constraints. Each project answers a question that emerges from the last process-performance. 2017 solo performances include Duration & Dialogue Festival, Rhubarb Festival, Flowchart at Dancemakers, Guelph Short and Sweet/Kazoo Festival, PS: We Are All Here (Toronto Dance Community Love-in), One Night Only in Glasgow as part of the UK Live Art Development Agency’s DIY Program and an inter-relational experiment titled, “Procedures: Audience as Knife” as part of HATCH at Harbourfront.

Exhibitions & Work

2016 performances included AGO’s First Thursdays, as part of NO OBJECT Collective of which lo is a founding member and solo work at Summerworks Festival where she won the FADO Live Art Award; as well as solo work at Panoply Lab in NYC; in Montreal, for Victoria Stanton through Dare-Dare, WIVES Assemblee for Studio 303 Curator-in-Residence Program, and Words and [__] Words a durational conference by School of Making Thinking. In 2015, lo showed work at Month of Performance Art-Berlin and ITINERANT Performance Art Festival NYC.  In 2014, she created two new performances for a 25-hour festival at the District of Collumbia Arts Centre in Washington and performed “The Clearing” an 11-hour durational work at 7a*11d International Festival of Performance Art wherein she used her own archive of 30 years of writing and note taking as sculptural material.