In Vitro: My screens, Your screens and Our Screens For The Performance

This starting point, which was a fun away to think about storytelling through different formal aids, using a diy aesthetics that include a bright synthy coloured palette for the cartoons, electronic music as an emotional device, and our bodies becoming screens for the projections themselves is a questioning of our relationships with technology, science and society.

At some point, whilst I was still figuring out the space in which the digital space would become a performative space, I became ultra aware of screens. I often think about the fact that there are days in which I stare at a screen for longer than I stare out of my window or at the faces of people I love.

There's the glass on which I draw, the glass of the projector, the glass that will show you the performance. There's the time of the performance and the time of you watching the performance. There's the invisible screen on which the doctors read signs of fertility and infertility inside my body, there's the nurses and doctors appearing on my laptop screens during consultations and bad outcomes. There's the glass that protects organic particles that might potentially turn into a person of the future, there's the lens of the lap microscopes. There's the hours of screen time for the research that accompany this project.

And that's when the process of 'In Vitro' fertilisation started to mean more than its conventional meaning. Fertilisation through many glasses indeed. Way more than they tell you. Humans and our continuous entanglement with technology is everyone's reality now. The screen is but a physical part of it.

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