Presence is an ongoing film series initiated in 2021, comprising over thirty short films made across the United States. Each work emerges through durational listening and collaborative engagement with landscape, forming a growing archive of Field Studies in Belonging. Grounded in the inquiry how does land become ancestral?, the series investigates relationalities between place, body, memory, and displacement. Through movement, form, and color, the films collapse internal and external landscapes, slowing perception and positioning presence itself as both medium and resistance to contemporary conditions of speed, extraction, and disconnection.
#experimentalfilm #performanceart #landart #ecospiritual #ecoart f
Artist Profiles: NiFe
NiFe is an interdisciplinary artist. Her performance work draws attention to the present moment. Because time is all we have.
Archival drone footage by @trippstagram
Life is a series of events that can be experienced as either mundane or imbued with meaning. This is a choice we exercise, moment by moment. I often find myself making things without fully understanding why, only to arrive at that understanding much later. I feel fortunate to be attuned to a kind of subterranean current that moves through me, urging creative action.
These rituals can be simple: pausing to take something in and reflect, filming myself in a fleeting gesture, writing something only to burn it moments later. I’m not following a system, belief, or prescribed practice, I follow impulses and see where they lead.
The same is true for these images. I recorded film because wood needed burning, and I wanted to be with it as it burned. The pieces came together intuitively, these film stills are what remain.
What I understand now is that this moment had less to do with art in a formal sense and more to do with living, responding to what needed to unfold, energetically, in that time. Through its capture, it takes on new meaning in these still images, a conceptual flowing from stillness.
From all of this emerged an opportunity, and I’m deeply grateful to Leica Boston and Sybylla Smith for including the first image in A Yellow Rose Project × Concept Aware.
@jsybylla@leicagalleryboston@leicastoreboston@leicacamerawomen
#blackandwhite #photography #leica #performanceart
Circles of Here is a durational, site-responsive performance practice that generates ephemeral land artworks through ritualized pilgrimage, endurance, and deep listening. The project began in June 2024, emerging from a vision that prompted an immediate shift into public performance and ongoing research. Using the body as a perceptual instrument, the work inscribes temporary circular traces into exposed earth across urban and re-emergent landscapes, marks that register witness without extraction, ownership, or permanence.
Positioned between performance, land art, and social ritual, Circles of Here approaches belonging as an ethical, relational act rather than a fixed identity or claim. The project rejects monumentality in favor of attunement, proposing impermanence as a form of care and balance. By privileging duration, repetition, and embodied attention, the work opens a shared field where land, memory, and human presence co-author meaning, inviting collective responsibility for how we inhabit, remember, and tend to the places we move through.
Big thank you to @trippstagram for these stunning shots.
#durationalperformance #performanceart #landart ##circle
Since I was very young, I have loved the act of dressing up, the alchemy of becoming a hidden aspect of the self. The clown is a classic vehicle for this transformation: a figure who steps outside ordinary rules to reveal something deeply human. The first clown I ever created was named Strawberry, and through her I discovered the clown’s particular magic. Through the simple ritual of costume and play, an aspect of the self comes forward and is given the freedom to express itself. In allowing it space, something larger begins to unify. What appears to be becoming someone else is often the opposite: a gathering of the self into wholeness.
Leaves Some Kind Of Residue
The internalized experience and outward presentation often harbor tension. Leaves Some Kind of Residue embraces this friction, surrendering to the unfolding truth of lived experience in real time. This fifteen-minute solo performance lingers in the depths of the unknown, exploring what it means to unravel, stand in one’s own dignity, pass before another’s judgment, and exist in a raw moment, without filter or escape.
Standing naked on a mirror with my eyes closed, fragments of memory spill outward, my mother’s warnings about the world, glimpses of experience, and perceived thoughts of the audience cascading from my mouth without sight to anchor them. The body becomes a vessel of hypervigilance: locating exits, reading perimeters, anticipating threat. Fear appears not as abstraction, but as the learned vigilance of moving through a world shaped by humanity, and, more specifically, by men. With my eyes still closed, I ask the audience if they feel safe. I open them and ask again. Then, slowly meeting each person’s gaze, I ask once more: Do you feel safe now?
The work considers the female body as an object, an experience, and a somatic witness to generational histories. It immerses itself in vulnerability, seeking truths that can only emerge through direct experience. It is a reclamation enacted through a self-initiated rite of passage.
This piece first appeared to me in a vision six years ago. At the time, it felt unfathomable that I could follow through with what I was being shown. It was the first solo performance I ever undertook. The journey to this moment has been one of constant arrival, a continuous turning over into something unrecognizable, something far more mysterious than my mind could have ever conceived.
/read/vivid-oblivion-leaves-some-kind-of-residue
Special thanks to:
📷@chewyhe
🎥@YueHua
🎤@nu_____v_o
#performanceart #multidisciplinary #art #artist
Presence is an ongoing film series initiated in 2021, comprising over thirty short films made across the United States. Each work emerges through durational listening and collaborative engagement with landscape, forming a growing archive of Field Studies in Belonging. Grounded in the inquiry how does land become ancestral?, the series investigates relationalities between place, body, memory, and displacement. Through movement, form, and color, the films collapse internal and external landscapes, slowing perception and positioning presence itself as both medium and resistance to contemporary conditions of speed, extraction, and disconnection.
#experimentalfilm #durationalperformance
On the third anniversary of your passing, I grow ever more grateful for your enduring love, your sacrifices, and the endless gifts you bestowed, gifts that, with time, continue to reveal themselves. My heart rests in tenderness. You are my greatest inspiration, the model I recognize within myself, and someone I am endlessly proud of.
You cleared a wide path that I now run through, my fingers tracing its openness toward a sense of destiny we both built. Existence, identity, and wisdom are a continuum. I carry the profound honor of being the present incarnation of a vision set in motion endless generations ago. You showed up fully to plow and tend the way, and I have the great privilege of benefiting from your labor in this new season of bloom.
Your radiance still shines, carried and kept alive in my heart.
With so much gratitude and deep bows mumma. I love you. 💗
My happy place!
Circles of Here is a durational, site-responsive performance practice that generates ephemeral land artworks through ritualized pilgrimage, endurance, and deep listening. Using the body as a perceptual instrument, the work inscribes temporary circular traces into exposed earth across urban and re-emergent landscapes, marks that register witness without extraction, ownership, or permanence. Positioned between performance, land art, and social ritual, Circles of Here approaches belonging as an ethical, relational act rather than a fixed identity or claim. The project rejects monumentality in favor of attunement, proposing impermanence as a form of care and balance. By privileging duration, repetition, and embodied attention, the work opens a shared field where land, memory, and human presence co-author meaning, inviting collective responsibility for how we inhabit, remember, and tend to the places we move through.
#performanceart #durationalperformance #landart
Ritual for the Uninvited is a twenty-minute solo performance merging Butoh and performance art as a ritual inquiry into relationship across ancestral and queer cosmic dimensions. Drawing from Celtic and Norse pagan ontologies, it evokes the porousness between worlds, living and dead, landscape and body, self and lineage, where ancestral transmissions move through physicalities and timescales in a choreography of inheritance and dissolution.
Emerging from grief and the ecstatic, the work approaches madness as divine release, a threshold where rationality breaks into the wild intelligence of love, grief, and cosmic memory. Rooted in the sudden death of the artist’s mother, it listens for the afterlife of connection, understanding death as transformation and animacy that persists through body and landscape.
Cernunnos, the Celtic antlered deity of the wild, is invoked as a nonbinary life force, reframing fertility as multiplicity, vitality, and ecological reciprocity. Through this, the work enacts a queer cosmology that dissolves boundaries between human and more-than-human, life and death. The performer’s body becomes altar and threshold, gathering the uninvited, those silenced or excluded by sanctioned ways of being, into a collective field of presence: a living ecology of transformation where queerness is the structure of interconnection rather than a fixed subject.
Special thanks to:
@mobiusinc
📷 @klediastudios
🎥 @serenagabrielsart
#butoh #performanceart
