Untitled Performance at Late Night Live Art at Kraak, Dec 2009 (20 mins). Domestic objects, light, sound, projection, eater.

The performance involves eating words from books, mainly from the Old Testament. There is a dining table set with cutlery and plates. Pages are torn from books and cut with a knife and fork, the detail on the dinner plate can be seen projected on a screen behind the diner.

Part, Installation, Late Night Live Art at Kraak, Dec 2009. Crochet acrylic, sound, light. (First shown March ’09)

Part is a sculptural piece comprising of a large hung crochet object, sound and a spotlight. The crocheted acrylic object is evocative of body organs; a veined sac hung from a rusty chain and meat hook with an intestinal trail along the floor. The sound, heard subtly in the distance, are cries from an ambiguous subject; young/old, human/animal, male/female, in labour/death throws, in pleasure/pain. The piece juxtaposes the synthetic and organic, delicacy and brutality.

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Untitled installation, June 09, University of Salford Visual Arts Degree Show. Fabric, found objects, light, sound, wax.

Black satin curtains surround the perimeter of a long space in total darkness save from the flicker of static an old TV, which emits an almost inaudible white noise and hum. The TV screen lights red wax casts of everyday objects, with the exception of a human skull, found on a dressing table. The piece is a contemporary take on the vanitas still life tradition from a personal perspective. The vanitas paintings used objects such as skulls memento-mori. The piece represents the feelings of fear and uncertainty whilst I was growing-up and my desire for escape. The domestic is dangerous.

Untitled performance (eating a chocolate breast), May 09, University of Salford Roominations event (10 mins). Candlelight, sound, red velvet, chocolate, eater.

This performance refers to the eating of the body of Christ in the Eucharist. The breast is passed around for others to eat after the robed eater carefully devours a large part of it.


Louise Woodcock


September 2018
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