Florence Peake and Eve Stainton: an artistic, romantic collaboration, and simultaneously, respective autonomous artists. Meeting through somatic and choreographic movement practices enquiring into symbiotic ecologies, the queer lesbian sense and speculative conjuring as a form of LGBTQ+ activism.
As a trained dancer Florence Peake’s background in choreography and painting stimulates a studio practice that is both diverse and immersive. Often working performatively to incorporate drawing, painting and sculptural materials, Peake’s work explores the relationship of materials to the moving body. Through public performances and carefully choreographed works Florence Peake challenges notions of physicality, loss and political concerns such as the commodification of art by the corporate world. By encouraging chaotic relationships between the body and material, Peake creates radical and outlandish performances, which create temporary alliances and micro-communities within the audience. In believing that objects and materials have their own autonomy and subjectivity, Peake draws on the expansive vocabulary of materials to enhance and contextualise her work. The sculptural works and paintings operate as documentation of the performance, but never in a reductive way, as Peake attempts to incorporate the effect of site, audience and much more than the pure physicality of the performance.
Eve Stainton is an artist working with movement, the process of creating performance, and digital collage making. Her practice often takes the shape of queer and very intimate collaborations enquiring into/ exploiting the influx of desire and vulnerability as a form of protest in response to restrictive normative attitudes. She co founded The Uncollective in 2013 with Michael Kitchin whom have since been generating experimental movement projects which acknowledge contemporary queer politics, using intimacy/objects/substances to question ‘usefulness’ through movement and liveness. More recently, Eve has been creating digital collage images through an app on her phone, then transferring and manipulating animated masks through various video software. Conceptually Eve views this practice as holding/ manifesting a sci-fi space where alterations of the self can exist outside of normative perception; an alternative way to view and embody the form of choreography and abstraction when dealing with implicating the queer self. Eve has begun a solo practice which is engaging with arachnids, revenge, the queer lesbian body as threat, and digital collage film.