Jennifer Seastone is a native New Yorker with roots in performance. Her practice extends to visual objects and tech-mediated performance, sometimes combining all these at the same time. She has a BFA in experimental theater from NYU, and an MFA from CCNY in Digital and Interdisciplinary Arts Practice.
Seastone has shown her work at The Performance Arcade in New Zealand, in New York at The Invisible Dog’s Glass House, Uncanny Valley, Dixon Place, the New York ITFF. She’s attended numerous residency programs and is a Target Margin fellow, as well as part of a remote residency based in ethics and social change practices through the Arquetopia Foundation under the mentorship of Francisco Guevara. Seastone has performed for many including Minor Theater (founding member), the Wooster Group, Daniel Fish, and Alec Duffy. She is also the founder of the OBIE-winning performance series Catch, which she curated for two years.
Much of my work is driven by material and what it means to destroy and create. I explore the possibilities of re-forming narrative and memory by allowing it or forcing it to breathe into the present. I am fascinated by layers, palimpsests, and the peeling back of the layers to reveal hidden truths.
I am interested in entropy, disintegration and destruction as a site for growth and change. Many times the work has different iterations: i.e. textiles, performance around the textiles and then a different work that is created as an object documentation of the process. My work is driven by the ghosting or the invisible past shining through to the present without words: creating historical context while simultaneously existing in the present.
I question philosophical notions of memory, narrative, history, home, safety, time, movement, and place. I hope that viewing the work provides a site for a face-to-face encounter with the work itself separated from my original intention. The process involves research and investigation into problematic aspects of different philosophies. I like to understand why and how some questions themselves are worthy of questioning. I grapple with the existence of the shadow of the work or the third, invisible other in this one-on-one encounter. I strive for the work to live between the cerebral and ephemeral, in a place of both mind and also where my ancestors exist and provide a structure and a frame within which I can create.