Recall: Evening of Performances (2008–2019)
Q&A with Florence Peake

October 2021
Roberts Institute of Art
Recall: Evening of Performances (20082019) is a year-long programme of interviews, podcasts and contributions from some of the artists who participated in the twelve editions of the celebrated Evening of Performances. Highlighting the evenings’ extraordinary legacies, we will be exploring what the next wave of contemporary performance can become with the artists who have shaped it so far.
Roberts Institute of Art

Florence Peake, 2021.

Photo: Christa Holka

What is the first memory that springs to mind when thinking back to your performance at Evening of Performances 2013?

Proximity to audience, rammed Frieze week. We had to physically push through the audience to move through the space. I remember the atmosphere only, because it is so distinctly different from what crowded spaces feel like now. Hot, stuffy, close — and without the feeling of threat there is now.

Then shaking — the shaking practice we were all doing was immersive and would take us into altered states, so the atmosphere and the audience felt like a mass substance to synchronize with and wade through.

Do you have a pre-performance ritual?

Many trips to the toilet, I feel exhausted, depressed up until 5 mins before — so anything to manage the anxiety — different performances require different preparations. For Voicings I had to do meditations and talk to the shaman I had worked with on the work. Other more physical works are more movement-oriented rituals.

Roberts Institute of Art

Florence Peake and Eve Stainton, Apparition Apparition, Meetings on Art, 58th Venice Biennale, 2019.

Courtesy Delfina Foundation and Arts Council England. Photo: Riccardo Banfi

Is there a performance that made you want to perform yourself?

When I was 16 I fell in love with dancing and making performance — obsessed with thinking about staging: set, dancers, bodies moving, costume, music. And Karole Armitage, Wild Thing, 1988.

Roberts Institute of Art

Florence Peake, CRUDE CARE, 2021. Installation view, British Art Show 9, Aberdeen Art Gallery, 2021-22. A Hayward Gallery Touring exhibition organised in collaboration with galleries across the cities of Aberdeen, Wolverhampton, Manchester and Plymouth.

© Florence Peake. Photo: Mike Davidson

How does your work turn imagined bodies into actual bodies?

I think of it the other way — the physical conjures up the imagination that prompts more sensations that move into movement/physicality, which then cultivates and stimulates more ways of altering perceptions/imagining around the body/environment/audience/witness/seeing/staging/materiality — maybe it's a symbiotic thing… feeding into each other. Multi-dimensional, multi-species, multi-directional.

Roberts Institute of Art

Florence Peake, Touch Horizontal Pleasure, commissioned by Bosse & Baum, London, 2017. Performed by Katye Coe, Iris Chan, Rachel Gildea, Lizzy Le Quesne, Rosalie Wahlfrid and Eve Stainton.

© Florence Peake. Photo: Anne Tezlaff
Roberts Institute of Art

Florence Peake, RITE, De La Warr Pavilion, Bexhill-on-Sea, 2018. Performed by Iris Chan, Katye Coe, Antonio de la Fe Guedes, Samuel Kennedy and Susanna Recchia.

© Florence Peake. Photo: Anne Tezlaff

What is your current obsession?

Rope, Clear Tar Gel by Golden, trying to get plaster to fix to surfaces. Desire to move/dance with others but not knowing what the context could be. Feeling alienated trying to belong. Injuries in the body, how to heal.

Roberts Institute of Art

Florence Peake, The Keeners, commissioned by [SPACE], 2015.

Photo: Tim Bowditch

Florence Peake

Florence Peake is a London-based artist who has been making solo and group performance works intertwined with an extensive visual art practice since 1995.

Peake produces movement, interactive sculpture, paintings that use the whole body’s physicality, text, film and drawings which respond and intercept each other to articulate, extend and push ideas. Peake’s work explores notions of materiality and physicality: the body as site and vehicle of protest; the erotic and sensual as tools for queering materiality; the subjective and imagined body as a force equal to those that move in our objective flesh-bound world.

Recall: Evening of Performances (20082019)

For well over a decade, we have been championing performance across its many forms – from intimate spoken word to absurdist interventions, DJing, dance, music, theatre, fashion and much more. We’ve brought this all together as exhilarating one-night showcases in our Evening of Performances.

As we move into a new phase of programming, it is time to draw the curtain on this format and explore other sustainable and meaningful ways to support performance artists and audience engagement across the UK. As we prepare for this exciting new chapter, we also turn to the artists and performers we have closely collaborated with in the past, to celebrate, listen and learn from their perspectives and keep evolving with the field of performance.