movement in viridi
“In “Movement in Viridi,” the body on the podium is an interrogation of the evolution of visibility. While the podium represents historical structures of control, the body explores my theory of Panoptic Nouveau, a modern iteration of Panopticon surveillance that extracts and polices Black-Queer identity through the lens. It is a bridge between old, rigid technologies of past visibility and the modern decentralized realities of seductive surveillance. By centering a Black-Queer body in this historical space (The Goat Farm Arts Center), I am reclaiming the autonomy of visibility, turning a similar historical site of extraction, the black and queer body, into a site of celebration. By portraying the sensations of the skin under restrictive material, the focus shifts from a systemic extraction to a celebration of Black Queer intimacy and labor. The industrial setting of the Goat Farm provides a site specific connection to weaponized infrastructure, and a mirroring of the performance’s retrained movements, highlighting the tension between rigid archival and fluid identity.”
—Cameron White, June 2026.
“The carrying of the vessel on the head is a nod to a universally recognized symbol of labor. The objects center of gravity align’s the vertical axis of the spine to distribute weight evenly to the ground. Like in my performance, any movement has to be graceful and confined. The illusion of effortless labor of this action mirrors the day to day living and silent physical and emotional burnout within the Black-Queer community.”
