Victoria Gray has presented performance and video work nationally and internationally, including France, Germany, Italy, Poland and the USA. Her approach to making work is considered an ‘affective practice’; the work is not ‘about’ affect but seeks to make affect ‘happen’ in a live encounter between the body of performer and audience. In this sense, each work is highly contingent upon an audience’s particular presence and the specificities of each performance site.
Often durational in length, her performance’s utilise temporal strategies of slowness, stillness and extended duration in conjunction with performing unsighted. These strategies bring a cellular-attention to kinesthetic sensation as a kind of affect, occurring at the level of the bones, muscles, organs, fluids, glands and nerves. This attention aims to disturb ‘common sense’ hierarchies of sensory organisation, specifically the dominance of ocular sensing. Above all her work aims to activate the political potential of a body that is attuned to its inherent affective inter-subjectivity via a bodily and language based practice.
In addition to her performance practice, her writing has been published in peer-reviewed journals, and edited books in the field of performance. Here, writing is considered an action and an art practice in itself. Recent publications include Journal of Dance & Somatic Practice, 2012; Kinesthetic Empathy in Creative & Cultural Practices, 2012, Choreographic Practices, 2013, Emergency Index, 2013, Live Art Almanac, 2013, and Reading/Feeling, 2013. She also writes on artist-led organization of performance art in the UK, recent publications include, Total Art Journal, 2012, The Live Art Almanac: Volume 3, 2013, and Living Gallery, 2013. Currently she is writing a chapter for an edited collection titled, Experiencing Live: Liveness, Eventness, Nowness and the Arts (Reason, M & Lindelof, A, eds.). Her research has been presented at international conferences including PSi #19 Now Then: Performance & Temporality, Stanford University California, USA and TaPRA, Embodied Engagement: Participatory And Immersive Performance, The University of Glasgow & The Royal Conservatoire of Scotland, UK.
Through her practice-led research, she is often invited to guest lecture in performance and fine art subjects in universities in the UK; most recently she held the post of Senior Lecturer in Performance at York St John University. Currently she is a PhD candidate at Chelsea College of Art and Design, University of the Arts, London supervised by Dr Hayley Newman, and is a researcher within the international research-creation project, Immediations, conducted by Sense Lab, directed by Erin Manning at Concordia University, Montréal, Canada, questioning the political and social ramifications of recomposing experience and perception.
Her practice extends to the action of artist-led organisation, in particular she is committed to developing practice, discourse and education of performance art in the UK. Alongside artist Nathan Walker, she is co-director of O U I Performance, an artist-led organisation dedicated to research and presentation of performance art both in the UK and internationally. She is an advisory board member of ]performance s p a c e[, London and Fellow of the Higher Education Academy (HEA).