The first thing to know about me is that my name is spelled F-E-E and pronounced "Fay." The second thing to know is that I am fascinated by the process of re-contextualizing rules and knowledge from one field to apply to another. 

Currently, the other field I draw from the most is computer science. As a 4D performance artist, most of my work in some way utilizes or relates to technology, whether that be creating new spaces and sounds in digital music, glitching video to reveal the underlying data encoding methods, or performing alongside a giant projected head speaking when the audience speaks. Much of the material content of my work is concerned with understanding how our relationship with technology reveals something about the tender, breakable nature of being human, in a re-educational sort of way; I try to use performance as a way of baring my own vulnerability to affirm the vulnerabilities the audience members hold. It is a professional form of intimacy, if you will. This comes through pretty directly in my collaborative work with Camille Johnson, “An Absurd Science of the Emotional Caliber,” where we teach audience members about the emotions they were not taught, yet seem to be universal, such as longing for yourself in a different time, in a different place as a different person. It also comes through in a more roundabout way in my current sophomore studio work, where I explore the relationship between perfection and breakability through the lens of technology and glitch. As I learn how to infuse technology into my work, I use it to mix streams of time, engage the audience’s sense of wonder and layer different contexts and connotations onto my performance.