PERFORMANCE & RITUAL

These works treat performance as sets of activations, where bodies, materials, and environments are brought into relation. Spanning durational actions, staged interventions, and installations of video performance with artifacts, they engage ritual practice, feminist technoscience, invisible agents/ illusory effects, and computational systems, where the 'laboratory' becomes a space of embodied enactment.

Many of these performances centre feminist erotic pleasure and reproductive technologies, utilizing the power of taboo materials to trouble normative boundaries around the body, intimacy, and reproduction. Performances unfold as experimental procedures and incantatory protocols, conducted across gallery, networked, and environmental contexts, where bodily processes and technological systems enliven-with place.

HEXY LAB

2026

HEXY LAB is a live bioart ritual and performance installation presented at Grace Exhibition Space, NYC. The work reconfigures the laboratory as ritual circle, a site of embodied, technofeminist enactment, integrating biological materials, sound, illusion technologies, and participatory action. Structured through a sequence of ritualized procedures and experimental gestures, it triggers taboo, utilizes eroticism as technology, and engages sensory exchange to activate the body as a conduit for magic and electronics. Hovering in the interstices of bioart, performance, and speculative technoscience, HEXY LAB produces an immersive environment of pleasure, control, and transformation, enacted and re-scripted through collective participation.

PALIMPSEST

2022

Developed during Hunter’s 2022 research-creation residency at the Museum of Witchcraft and Magic (Cornwall, UK), Palimpsest engages with historical demonology texts from the museum’s archive to examine intersections of witchcraft, gender, and medical epistemology. The silk surface bears photochemical transfers of the original pages—“ghost pages” of demonological documentation—interlaced with embroidery and embedded botanicals. The accompanying video performance alternates between these spectral inscriptions and sequences of the artist creating the work within the Boscastle landscape. Performed in situ, the work positions the body as both maker and medium, engaging land and archive as co-constitutive forces. The projected image returns the act of making onto the textile itself, producing a recursive structure in which gesture, memory, and material are continuously rewritten.

Materials: Silk, embroidery floss, devil’s cherries, mandrake root, beeswax, waxed linen, projected video.

Homunculariums

2024

The Homunculariums are a series of ritualized bioart performances that engage speculative processes of generation, incubation, and transformation. Drawing on alchemical histories of the homunculus alongside feminist technoscience, these works reframe the laboratory as a site for producing alternative forms of life, relation, and embodiment.

Enacted through communal procedures, material manipulations, and symbolic apparatuses, the Homunculariums function as experimental ground in which biological, mythological, and technological aspects intersect. Fluids, vessels, and gestural protocols are operative tools, staging acts of creation that are at once intimate, speculative, and materially grounded.

Micro-rituals and Erotic Encounters

2011-2013

These works engage performance as intimate, site-specific activation, unfolding through small-scale interventions, installations, and hybrid objects. Situated across public and semi-public contexts—including nightlife venues, storefronts, and constructed environments—they stage encounters structured by proximity, fixation, and desire.

Operating as micro-rituals, these works mobilize gesture, repetition, and embodied presence to produce moments of erotic tension and affective exchange. Bodies are translated across photographic surface, video loop, and sculptural form, becoming sites of projection, attention, and transformation.

Collaborative and Directed Performances

2012-2015

These works include performances conceived and directed by other artists, in which WhiteFeather participated as a performer, extending her practice through contributions within broader performance art networks. Operating within externally defined structures, these performances involve the execution of scores, gestures, and actions that mediate the body through technological, prosthetic, and collective conditions. Participation in these works informed Hunter's own approach to performance, in relation to collective dynamics, instruction, and the body as a responsive instrument.