April 2013

I was asked by Hans Van den Broeck the artistic director of the performance group SOIT (Stay Only if Temporary) to facilitate a colloquium at his new artistic space in Brussels. Here is what happened.

duration: as long as you wish to stay or when you decide to leave

There is no denying that virtually instantaneous and frequent communication, travel and migration are having massive effects on the way we live, work and interact.  It is a time where nothing is solidified or absolute and its transitory nature (shifting at what appears to be an ever accelerating pace) lends itself to constant instability. This instability is creating an aesthetic in contemporary art production which now uses, reflects, reveals perceptions of a time that favors quick and easy consumption and undermines the durable.

What is our relationship to a transitory society that inhabits places and engages in numerous daily activities for short amounts of time? Under these conditions in which ways are we producing, consuming and contributing to culture capital?

Throughout this theatrical discourse the participants/actors are asked to perform in a process that takes a multifaceted approach to exploring how temporariness in contemporary culture and cultural production is affecting society and the individual. Participants become actors as they travel through four different theatrical installations that function as creative work stations. They perform different tasks at each station in order to observe, reflect, act and analyze the unrelenting, temporary condition of our contemporary state. As the event unfolds the actors/participants develop a script/discourse as they engage in precarious acts where nothing is absolutely defined and everything must be negotiated.

Gallery Dresdnertsr. 14 Berlin, Germany, 2011





Echo fakes the Present is a performative structure, one in which the audience and the performer simultaneously become the subject of the piece, as well as the objects of attention. I, as the performer/creator take on the role of a host/facilitator, the audience takes on the role of invited guest/participant.


English Theatre Berlin, 2007

An adaptation for the stage of Brief Interviews with Hideous Men: a compilation of short stories by David Foster Wallace. All visuals sketched by George Lewis Jr. Adapted and directed by Sarah Lewis.

This compilation of dialogues and monologues delves into men’s fear of truly being seen or understood. The loneliness, aggression, and rawness of the characters are laid bare by a series of short interviews conducted by a silent female figure. Movement and visual pasages disrupt the text to highlight suppressed motives. Should we be witnessing this? How is the seemingly harmless partially loaded?


TIME! (and/or Progress?) This Foreign Concept, Berlin, Germany, 2011

TIME! (and/or Progress?) is the first collaboration between performance companies This Foreign Concept and The Plastic Arts. The collaboration explores themes of time and its passage by utilizing time theory, specifically the Theory of Recurrence, as a theatrical device.


Brooklyn The Event Center, HOEDOWN HALL organized and initiated by AUNTS, Video installation-Wailing Video, 2006

LEWIS FOREVER dramatizes the pain of separation pairing melodrama with sincerity and using a sparse visual language in two videos played simultaneously: one by Isabel and George dedicated to Sarah and Ligia and one by Sarah and Ligia dedicated to Isabel and George.