"Current Mill", 2016
What if corporations brainwashed us, metal, plastics and toxicity takes over? What if we are eventually #brainwashed by a Trump owned windmill corporation? What if meals were just the size of an #appetizer? What if Trump had his way and had women dressing in skimpy transparent clothing and the colored ones are only #servants? #currentmill #2020 #futurism #serving up #windmills made of toothpicks and #metallic adhesive paper over toast, boiled bananas with coconut oil, scallions and anchovies. Inspired by Marinetti's "The Futurist Cookbook" and Jamaican #cuisine. #futurist #waitress #performanceart #stopwindfarming in close proximities to people's homes. #antifascist
Performed for "Current Mill- Homage to the Futurist Manifesto" Glasshouse, Brooklyn, NY
"America the Beautiful", 2016
Performance, sound component. 35 minutes.
“America the Beautiful” is a multi-layered performance illustrating the trajectory of the current political events in the United States. Referencing the Black Lives Matter movement, The Dakota Access Pipeline, Immigration, and women’s rights as it relates to the political sphere, the artist utilizes choreographed movements to a sound compilation created from various online sources. The voice of Donald Trump on his reign over the Miss Universe beauty pageant and his view of women collide with military police tactics and natives of the Standing Rock tribe defending a most precious resource.
"Am I pretty now?" 2015
Performance, 10 minutes.
(Digital C-print and video documentation available)
"Am I pretty now?" was created with fashion designer, Jósa Goodlife at an artists’ residency titled “Essential Departures” at Rosekill Farm (near Kingston, NY). Artists responded to the site with consideration of the female body’s contextual relationship to nature as a point of departure. Artists were invited to participate with a performance work on this theme while using the opportunity to develop practices through intensive exchange and dialogue within a stunning natural environment.
I swam in a lake naked, feeling vulnerable like the nature, with the exception of my head, adorned with limbs of a tree. Wearing this elaborate headdress we made of natural materials, wooden branches and flowers I swam slowly. The natural environment inspired us to decorate a simple yet elaborate crown for my solo performance. The woods and the lake gave me a very simple and primal approach to the work with thoughts of life and cycles. Our relationship to Mother Nature and the relationship to life and death was what persisted in my mind.
These elements, the large body of water and my brown body gave me the agency to be a native woman of the past, one not in need of covering up myself. The vast subliminal landscape and my body within that space intended to be a short narrative of survival. Here, I was from a foreign place washed ashore, easily camouflaged into this nature. I arrive by treading this body of water. The headdress, perhaps tribal in its own right may remind one of the headwear by Surma and Mursi tribes of East Africa's Omo Valley, yet its reminiscent of a Victorian silhouette. I wear what may seem like a traditional accessory of my own tribe. I carried what was important. Was this my identity? Or have we created a rare form of hybrid beauty trying to fit in?
I swam from one end of the lake to the other in circles. The longer I swam the more tension was built up in the calm and quiet lakefront. At moments my body just floated pushing what looked like natural debris. As the performance came to a close I swam to the edge of the lake where I stepped onto the wooden deck and dressed into my nature patterned Kimono. I then lead the audience up the hill.
This work is published in Emergency Index Vol. 5 , pg 194 by Ugly Duckling Press 2016
Inspired by the 214 pregnant women raped by the Boko Harum captors the artist encases herself in a large plastic bag as if suffocating. The audience blow the balloons on her sheets and is invited to push the blown balloons into the bag. The artist eventually pops the balloons, exits the bag and pop's her own balloon on her belly.
Red plastic falls to the floor between her legs and she spells the word "HELP" with the beans that fell from the balloons.
Helium red, green and yellow balloons are then released to the sky with a basket of beans all while to the soundtrack of the artist's heartbeats, radio newscast by BBC and various American news.
*Jodie Lyn-Kee-Chow's Color Chameleon performance on the roof, a piece about the young women made pregnant via rape by their Boko Harum captors._ Scott Lynch , The Gothamist
"Three Little Birds" , 2015
Performance. 20 minutes.
A performance where movements of a live peacock are introduced and mimicked by the artist.
A variety of actions with birds ranging from manmade, to taxied, to real birds were performed. These ranged from mechanical bird sounds in the crown of her tree branch headdress, to painting images of birds, to shooting a taxidermy bird, and later dancing with a live peacock.
Performed at ABC No Rio, NYC.
"Color Chameleon", 2015.
Performance, sound component. 20 minutes
"The Calling of the Light: Alone", 2015.
Performance, sound component. 20 minutes
Performed at Gallery Sensei, NYC. in "Performance Anxiety".
I performed a rendition of my piece " The Calling of the Light" which included paper cutouts and paper sound instruments with glow in the dark effects, a video projection of the beach and a digital version of a poem, "Alone" by Maya Angelou.
"Resident Alien", 2015.
Performance, sound component. 15 minutes
A performance about being an immigrant, longing, and the earth in ones homeland.
For 'The Great American Performance Art Festival'. Performed at Grace Exhibition Space, Brooklyn, NY.
I began sleeping on a bed of dirt, covered by my childhood blanket.
I awoke and played with insects. Listened to Bob Marley. Went for a bike ride.
Rode in circles around a square.
Became an American Citizen.
Listened to Bob Marley again while passing around a spliff. Reminisced.
Threw out Newspapers telling a synopsis of my life story of how I got here.
Parked my bike.
Dug a hole in the pile of dirt and found a jar with a butterfly which looked like a hybridized Jamaican, a Swallowtail.
I tapped the jar and showed it for everyone to see.
It could fly but it was not free.
"Gypsies Picnic: The Feast of those gone by", 2015-16.
Performance. Dimensions Vary.
In “Gypsies’ Picnic: The Feast of those gone by”, 2015 the artist, Jodie Lyn-Kee-Chow performs in a gown she created out of kitsch Gingham tablecloths typically found in local bargain stores accessorized with a basket of local and exotic fruits intended to be served. In this piece she reflects on colonial pastimes, tourism, and leisure activities all based around the concept of spring /summer gatherings.
Performed in the following:
The Roger Smith Hotel, NY, NY (March 2015)
Lehmann Maupin, NY, NY (October 2015) (10 minutes)
Nari Ward's "Ground in Progress"
Rebecca Goyette's "Ghostbitch: Arise from the Gallows" 2015.
Various Historic Locations, New Orleans, LA for SVAMFA
El Museo del Barrio with Ayana Evans' "Back in Five Minutes" N.Y. ,N.Y.
Panoply Lab, "Cleansing/Claiming/Calling/Falling", Brooklyn, N.Y.