My work is an exploration of identity as a BIPOC (Black, Indigenous, Person of Color) body traversing through the generational histories of my family and the struggle of cultural loss to our assimilation of Whiteness. Through the multi-faceted medium of performance, my work uses physical and mental spaces of self and technology to understand how the body functions as a screen. Our bodies house projections of generational expectations that have trickled down from the past into the present. These projections shape our own unique identities along with the personal experiences we gather as we move through the various spaces of our life. My performances dissect these spaces and the systemic bias that consumes them, helping me unlearn and put an end to my own performative acts that cater to Whiteness. This honesty can be seen throughout my most recent works which give me a space to heal and reconnect with my cultures in everyday life.

In this paper I will argue that Mulvey’s cinema as a one-way process of the male gaze is dismantled through social media platforms because of the control women obtain through feedback loops within their own posts.

In this paper I will argue that performance art can offer a continuous space of hyper-awareness for individuals to acknowledge their present emotions by having conversations surrounding the ways we affect one another’s identities to allow for an inclusive community to form.