Please come visit me there!!!
I WANNA BE IN THAT SHOW, 2010
Commissioned by Performing Idea, for Toynbee Theatre, London
"Parry seemed to celebrate the under-rehearsed. A ramshackle assembly of images, allusions and fanciful acts brought the foibles and uncouthness of this creator/star to the fore. Like a child he was engaging, bemusing and, at times, embarrassing"
Belly flop
Poster: Owen Parry 2010
Images from Performance Matters, October 2010; Photography and copyright Hugo Glendinning.
I Wanna Be in That Show is a performance about wanting to be in a performance. It draws on the feeling of seeing a performance and recognising one’s own desire to be in it or to have created it. It’s about art that drives you to make more art, to revel in its forms and textures and to question the bodies that occupy it.
Conceived and performed by Owen Parry
Performers: Luís Lázaro Matos, Giovanni Bienne and Jenna Rossi-Camus
Part of a double bill with Augusto Corrieri
Commissioned by Performance Matters. Click here for Bookings
"Parry seemed to celebrate the under-rehearsed. A ramshackle assembly of images, allusions and fanciful acts brought the foibles and uncouthness of this creator/star to the fore. Like a child he was engaging, bemusing and, at times, embarrassing"
Belly flop
Poster: Owen Parry 2010
Images from Performance Matters, October 2010; Photography and copyright Hugo Glendinning.
I Wanna Be in That Show is a performance about wanting to be in a performance. It draws on the feeling of seeing a performance and recognising one’s own desire to be in it or to have created it. It’s about art that drives you to make more art, to revel in its forms and textures and to question the bodies that occupy it.
Conceived and performed by Owen Parry
Performers: Luís Lázaro Matos, Giovanni Bienne and Jenna Rossi-Camus
Part of a double bill with Augusto Corrieri
Commissioned by Performance Matters. Click here for Bookings
I WANNA BE IN THAT FILM, (2010)
"I would like to see more films like this on BBC four in those hours in which the channel is off air."
Mark Waugh, Testing Grounds, June 2011
Twinkle played by Parry is a B movie star who is anxious about losing "him" to the unhealthy realms of reality, truth and liveness, which have come to be commonly recognized as tropes of performance art. Twinkle tells Honey Tits (Maria Agiomyrgiannaki), whose lavishly decorated hand and impeccable off-screen American accent are featured, that live performance "has sucked him in", and that “he” has been lost to the pernicious realm of "sitting in a room full of people he knows" and watching "all kinds of weird and creepy stuff happen".
All Images: Owen Parry copyright 2010
Directed and performed by Owen Parry, starring Maria Agiomyrgiannaki
Mark Waugh, Testing Grounds, June 2011
Twinkle played by Parry is a B movie star who is anxious about losing "him" to the unhealthy realms of reality, truth and liveness, which have come to be commonly recognized as tropes of performance art. Twinkle tells Honey Tits (Maria Agiomyrgiannaki), whose lavishly decorated hand and impeccable off-screen American accent are featured, that live performance "has sucked him in", and that “he” has been lost to the pernicious realm of "sitting in a room full of people he knows" and watching "all kinds of weird and creepy stuff happen".
All Images: Owen Parry copyright 2010
Directed and performed by Owen Parry, starring Maria Agiomyrgiannaki
Mitch & Parry, OCEANS APART, 2010-11
Performed at Testing Grounds (Brighton), Performance and Cocktails (Duckie, London), Sacred Cabaret (Chelsea Theatre, London), Trouble Festival (Brussells,Belgium) and Royal Festival Hall, (London)
Duckie at Royal Festival Hall, London (2011)
This performance explores the body as material, it’s plain external surfaces and messy internal offerings. Mitch and Parry challenge notions of desire through a joining of bodies made of liquid. The body’s oraphis as sanctuary this time, as vestibules for capturing translucent gifts – the body's holes as safe space, as desiring holes, the place of entry and exit. Time is measured in this piece through the time it takes to love – an intimate and single transfer of fluid that carefully keeps coming. One wonders how this exchange will end, if it will break, or if it will continue, always.
Images: Top 1 Alison Henry, 2/3 Tristan Spill, 4/5 Testing Grounds, 6/7/8 Stephan Mohr
Duckie at Royal Festival Hall, London (2011)
This performance explores the body as material, it’s plain external surfaces and messy internal offerings. Mitch and Parry challenge notions of desire through a joining of bodies made of liquid. The body’s oraphis as sanctuary this time, as vestibules for capturing translucent gifts – the body's holes as safe space, as desiring holes, the place of entry and exit. Time is measured in this piece through the time it takes to love – an intimate and single transfer of fluid that carefully keeps coming. One wonders how this exchange will end, if it will break, or if it will continue, always.
Images: Top 1 Alison Henry, 2/3 Tristan Spill, 4/5 Testing Grounds, 6/7/8 Stephan Mohr
GRIP HOLD AND REVELATIONS - BONUS TRACK, GFEST and QMUL, 2009
Grip HOLD is an amalgamation of fragments; images, texts, video and sound – some personal, some made-up, but all connected through the queer body of the host who assembles them.
From what artist Kira O’Reilly has described as “garish wallpaper penetrations (extrusions?) like a lo-fi domestic, kali glory hole” to “some kind of looking awry and fucking with syntax and grammar”, the work moves through several episodes that reveal the queer body in uncompromised positions, placed precariously on a little trolley, dangling into the video frame in underpants and football shin pads and adorned in £8,000 worth of Swarovski crystal at a grand piano singing Yoko Ono’s Revelations. The performance is at once a spectacular exploration of the exuberant visual surfaces we love so much, and the tellings of harsh lies and realities, of love, of loss and of what we desire most.
Grip HOLD (transition sequences) - from a performance by Owen G Parry from Banshee Boy on Vimeo. Revelations (Bonus Track) a Performance by Owen G Parry from Banshee Boy on Vimeo.
Images above: Gfest Wise Thoughts 2009
Images: Maria Agiomyrgiannaki
Stills: Owen G Parry
Big Hard Excellent Something, I'm With you - London, Mitch & Parry, 2009
A re-performance of Big Hard Excellent Fish's Imperfect List
Gay Shame 2008 Masculinity and 2009 Femininity, Duckie, London
Mitchelino & Parriola's Chocolatier
Mitch & Parry 2009
Let us cast your nipples in 97% cocao chocolate from the amazon. Exploring the useless parts of the male body, the nipples as feminine excess, Mitchelino & Parriola invite you to lay down and get your nipple casted and sold on for double the price. Expect titillation and extreme pleasures.
Images: 1/2 Christa Holka, 3 Roberto Sanchez-Camus, 4 Pop Etiket
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Anger Management Olympics (AMO - to love v)
Mitch & Parry 2008
Bespoke costumes by David Curtis-Ring
Set and cocks by Mitch & Parry
All the fun of the fair. Taking on Gay Shame's 2008 theme of masculinity, Mitch & Parry invite you to write something that makes you angry on a plate. You then get 3 chances to smash the plate which is hung from a traditional Welsh dresser. "The most popular stall" Dance Theatre Journal
Images: Christa Holka
Mitch & Parry 2009
Let us cast your nipples in 97% cocao chocolate from the amazon. Exploring the useless parts of the male body, the nipples as feminine excess, Mitchelino & Parriola invite you to lay down and get your nipple casted and sold on for double the price. Expect titillation and extreme pleasures.
Images: 1/2 Christa Holka, 3 Roberto Sanchez-Camus, 4 Pop Etiket
____________________________________
Anger Management Olympics (AMO - to love v)
Mitch & Parry 2008
Bespoke costumes by David Curtis-Ring
Set and cocks by Mitch & Parry
All the fun of the fair. Taking on Gay Shame's 2008 theme of masculinity, Mitch & Parry invite you to write something that makes you angry on a plate. You then get 3 chances to smash the plate which is hung from a traditional Welsh dresser. "The most popular stall" Dance Theatre Journal
Images: Christa Holka
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