Leah

Leah Rose Gayer

Leah approaches performance with a cartographic intelligence. Rather than committing immediately to one dramaturgical model, she collects and compares structures: inverted forms, collage, cycles, repetitions, modules, networks, circles and spirals. These structures become a reusable vocabulary for understanding how an artistic process organises attention and meaning. Henry McGrath's psychophysical work contributes an embodied dimension, preventing the structural taxonomy from becoming purely abstract.

A second recurring concern is the ethics of methodology itself. Leah asks what it means to “harvest” from a supposedly complete system and whether the artist can ethically take a method apart rather than inheriting its entire ideology. This makes her research particularly relevant to a programme built from successive Guest Artist encounters: she treats transmission itself as something requiring analysis.

For Clarisse, Leah offers an important model for what Clarisse has increasingly been doing retrospectively with CPPM. Clarisse also selects fragments from highly different methodologies rather than committing to one complete school. Leah's questions make explicit that this process is not neutral. To retain an exercise while rejecting the mythology surrounding it is already an artistic and ethical decision. Leah therefore helps clarify Clarisse's emerging practice of selective inheritance.