Megan Brailey explores transformation, modification, liminality, and the inexplicable as the essential language of butoh dance-theatre, encapsulating atypical physical languages and psycho-somatic research. They use prosthetics and buto to explore queer feminist ideas of inhabiting other bodies and archiving embodied histories and ‘bodily memory’, and thus expressing, not only the plasticity of human narratives, but the body itself. This series in particular explores the object ontology of stagecraft; the micro-expressions of cognitive-capitalist structures through objects; and the political radicality of the morphos body.

Through their collaboration, Brailey and musician Paolo Possidente, trained jazz drummer and electronics improvisor, investigate the relationship between artistic expression and conceptual restraint, and attempt to radically redefine the relation between moving body and music. Possidente creates noisy, drone, and experimental soundscapes with drums, electronics, objects, and mixers attached to contact mics on Brailey's body or their surrounding area.