Sound, Ethan Oppy:  

Ethan contradicts the typical use of sound to dictate and support the events of a performance, and instead the sound becomes a result of the performance. A contact microphone rigged to the butchers paper records the two-dimension vibratory sounds of drawing, and translate them into a three-dimensional auditory space. Furthermore, the sound is distorted, looped and manipulated live, to create an audible realisation of the visual elements being observed. This in response can be ignored, or embodied by the other performers, to influence their trajectories in the work. Therefore, ensuring a symbiotic relationship between the individual elements to create an utterly absurd demonstration of art.

Drawing, Sage Price:  

Sage investigates drawing as a generative mode of documentation, where instead of endeavouring to capture a certain image, the act of drawing instead captures a multi-sensory experience of an image, the image in question being the body. Sage utilises traditional tools affiliated with drawing, as well as non-traditional. The drawings are upon a roll of butcher's paper rigged on a steel roll holder, fabricated by the artist. As the performance proceeds, the paper is be unrolled into the space creating a collection of images. 

Dance, Rikia Bell:  

Questioning notions of internal and external performativity, Rikia observes dance in a form of raw expression, and ponders the relationship of performativity within her practice. Performativity here, is experienced through the consideration of movement to appeal a certain outcome- whether that be desired by the audience (external) or performer themselves (internal). These modes of movement are further influenced by the implementation of drawing. The clear response to movement presented through drawing can be seen as a portrayal of the subjectivity of movement, as well as an archival of the body in motion.