Performances
"La performativité du corps au travail, le rapport entre l’objet fabriqué et le fabricant, le travail en série, l’aspect chorégraphique du geste transformateur répété"
" The performativity of the working body, the relationship between the maker and the product, the transformative and repetitivegesture "
Le jandin des phrases-semailles, 2026
« Je suis convaincu que janvier s’étira pour le reste de l’année. Que je n’ai plus de feuilles, plus de racines, plus rien. J’espère que le soleil de mars révélera ce que j’ai oublié. Avril arrivera, me sourira. Mai sèmera, entre mes seimes, le désir de me renouveler. » — Excerpt from the poem by Amanda Préval
In the Isidore-Hurteau square in Vieux-Longueuil, Amanda Préval invites the public and passersby to take part in creating a long-term project that blends poetry with synthetic hair. Symbolizing renewal and the strengthening of roots for the artist, the work *Le jardin des phrases-semailles* (The Garden of Sowing-Phrases) turns braiding into a tangible expression of the potential meeting between the public’s aesthetic choices and the artist’s performance poetry.
Hold this Please, 2026
Hold This, Please is a collaborative with ceramic artist and friend, Belén Pédrocca. The peice brings together various ceramic pieces through the art of weaving. Our actions involve expressions of mutual listening and complicity, informed by our friendship.
Characterized by the tension between risk-taking and methodical work, the search for balance and misalignment, active listening and nonverbal decoding, this work explores the complexities and beauty of the ups and downs of social relationships. In this spirit of sharing know-how and care, the work engages the audience in the act of braiding to distribute the physical strain of repeated gestures and their extension over time.
What to shed, what to carry, 2023
What to shed, what to carry is a performance presented alongside Joliz Dela Peña and Nana Quinn. In this piece, We aim to explore the emotional and cultural relationships each upholds with their hair. The performance plunges us into the depths of an intimate experience in which hair transforms from simple organic tissue into a beacon of hope for harmony between identity, the body and the collective consciousness.
Strange fruit, 2021
Abel Meeropol’s *Strange Fruit (1937) is a grim, sinister, and melancholic poem that bears witness to the absurdity of lynching practices targeting people of color in post-colonial America; here, it is sung by Billie Holiday ane Nina Smone. As the poem suggests, lynching victims had to be reduced to the status of a fruit, aninanimate object, condittioned to be hanging from a tree. My reflection on the issues surrounding systemic racism and inter-ethnic power dynamics led me to create a commemorative object for these victims: a head-shaped urn designed to be hung from a tree branch, taken down, or worn on the body. The rope—originally intended as an instrument of hanging—is transformed into a shoulder strap. I view this transformation as an act of symbolic reversal of the harmful act, through which I take it upon myself to bear the weight of transgenerational suffering.