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Other
Performance Works
“MOTHER/MOTHRA” (2001) "Fabb juxtaposes innocence and violence with brio. Her representations seduce and transport the public into unknown territories…Rochelle Fabb is truly fascinating" - L’Est-Éclair on MOTHER/MOTHRA An interactive, durational performance event, which explores the often complex relationship and bonds between women, dominant and submissive relationships, and the human potential for nurturing and destruction. (Mothra, a Japanese monster character, is used as an example of a benevolent creature who, on a mission of fierce love and blind, maternal instinct to save twin girls, leaves a path of destruction in her wake.) Audience members were invited to interact with a live mother figure, either by phone or by receiving a written message from her. They could also choose between feeding marshmallows to a larva-like performer in a hammock or pelting her with mothballs. Performances began at dusk and ended in complete darkness. The performers communicated via speakerphone.
“ALWAYS, ALREADY, BEAUTIFUL” durational performance installation (2001) This piece was an ode to women who wear makeup to bed. The work explored the insecurity of facing ourselves in the morning and the action was the obsessive application and reapplication of makeup. The performer would collapse alone in bed and make “shroud of Touran-like” face prints on pillowcases. She would hang her smeared image out on a clothes line and the action would begin again. The audience was invited to make their own face prints or draw their own image in make-up on pillowcases and display them with the artist’s prints.
“MOOD SWINGS” – durational performance installation (2000) This audience -activated performance exploring loneliness, isolation and cabin fever in winter, took place in a room filled with window tint, glass cocktail stirrers and down feathers. The performer was perched high near the ceiling on a trapeze. As the audience rang the bell the performer would swoop down and perform one-on-one for the audience member behind a 2-way glass. Adjacent to the room was an installation of a fake fireplace and swirling fall leaves, sexy bras and panties.
"ETERNAL RETURN" (1999) duet with Michael Sakamoto from the Rachel Rosenthal Company’s “Unexpurgated Virgin” “weirdly erotic…blissfully ambivalent, unsullied by a lesson plan” (Los Angeles Times review) This duet set in the back seat of a car, features two performers on a date who have very different experiences of a sexual encounter. The work confronts isolation, longing, indifference, the female lust for sex and the American cliché of “losing it” in the back seat of your parents’ car. The soundtrack features a 1950’s-style plaintive, romantic ballad melded with the haunting voices of women in mourning.
“RAVAGES OF TIME” wheelchair solo from the Rachel Rosenthal Company’s “Timepiece” (1998) "…a solo that will linger most in memory." - LA Times on “Ravages of Time” This solo of an aging stripper in a wheelchair is set to the sound of a metronome with video close-ups of the body projected live in the background. The work addresses how humans can become prisoners in their bodies and initiate a self-paralysis in reaction to our society’s standards of physical beauty and age-acceptable behavior. The piece is a reverie through time and memory that reverses the aging process and initiates a final return to sensuality and full self expression. During this work, Fabb transforms from an elderly woman to a burlesque stripper
“MASON/AIRY” (1994) This duet followed the absurd, surreal story of a woman who becomes trapped in a Mason jar after attempting to transcend the traditional rites of womanhood via a shaman and the help of the audience. The piece featured an original sound score and pirated court recordings of restraining order hearings.
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