Performing the Sublime Sea — Mary Maggic Official

Matter morphs us as much as we morph them. Their stories are told through our mutual becoming as the world theorizes in its collisions and mutations, over and over again. They ask us to recognize the porosity between our bodies and our environment, and allow ourselves to be entangled in our sublime web of connections. Even in our sea of polluting molecules, IT IS STILL A SUBLIME SEA OF CO-MATTERING. Through a co-generative re-articulation of our materials, we reject all notions of purity, fixity, and coloniality. We accept that all borders, even the barriers of our own skin, are really just transient spaces. In our continuous negotiations between worlds, we de-territorialize dystopia for a new queer commons. In this collective dramaturgy, waste and their relationalities are re-defined in the following three-step process:

Step One: Encountering the Alien
We arrive at a terraformed site where toxicity has leaked across bodies, space and time. Waste embodies all of the colonial logics of dis-sociation and dis-location. We scavenge the site for organic and synthetic materials, which become the starting point for the new world we seek to build.

Step Two: Non-Ocular Sensing
We bring our materials into a large pile and put on blindfolds. In the pitch darkness, we release the ocular centrism that has long built western-scientific constructs of matter and mattering. Moving towards our materials, we use hearing as a form of touching as a form of smelling as a form of seeing. We allow our intimacy to spill over into the more-than-human.

Step Three: Collective World-Making
From this newfound intimacy we build a new scenography that represents a new Hyperspecificity, a pleasurable breakage from old world systems. By remembering enchantment, we re-construct an idea of belonging that is centered on planetary wounds.