Kira O'Reilly

"Quite often with performance art, particularly when there's nakedness, there's this assumption of something being revealed in terms of personal information or a confessional story. I think this where the work could be thought of as feminist, because there's a politics of the monstrous, of showing" pg 203 Unititled (Bodies) edited by Harriet Curtis

Xavier Le Roy 

Xavier had an on going interest in fragmenting, dismembering and disfiguring the body in and through movement. During the course of the performance, he hides his head in various ‘headless’ bodily positions this is as far as possible from any recognisable human figure. When I first saw this image of this work I felt an extreme urge to try to learn from this and also to try imitating it. It became quite important to experiment with. It was helping with my understanding of the talks about the human body becoming obsolete, because technology's superseding the current evolutionary progress of the human body. Also I do feel like there is a concept of the monster lies in a lot of Xavier work and this something that also explored in the performance. 

Rebecca Horn

The performer's personality determine the shape of the particular performance. The psychological mechanism is essential for the performance the person is isolated, seperated from the everyday environment. Cockfeather Mask for dieter 1973. The feathers caress her face and there is and intimate space between her and the viewer. Sight obstructed by the viewer. She can only see the face of the other and turns her head looking just with one eye.