Reviews and Comments
Robert Pacitti, Director, Spill Festival of Performance
“Gareth’s work is sharp queer activism. It is a contemporary charge of potent intent. The artist draws smartly and knowingly on a heritage of makers using autobiography as narrative, adding meaningfully to a set of performative concerns initially described in the mid 1990’s by artists foregrounding their own experiences of body based politics and representation. Cutter amplifies urgent concerns of now, with a touch that is at once both considered, and well crafted. Highly recommended.”
Lois Keidan, Director, Live Art Development Agency
“LOAD was an intriguing and captivating solo performance that took its audience into all kinds of uncharted territories and subjects in engaging and provocative ways.”
LOAD review: Dublin Live Art Festival
Sometimes the allusion to force is more potent that the explicit expression of power.
Gareth Cutter starts his performance by standing slightly off to the side of the room with a slack posture. Once the audience takes their places, he moves to a open space and wires himself with a microphone. The device is sensitive — I can hear the subtle sounds of him wetting his lips with his tongue; tensing and releasing the muscles of his jaw. He puts on a pair of rubber gloves, then shifting his body to an assertive stillness. Muscles quiver from stasis. He carefully manipulates the rubber of his gloves, so there is subtle note of the erotic, complimented by his gestures that evoke a sexual tension; a sensuality of bondage that provides the underscore his actions. When he speaks, his voice is distorted. It is digitized and deepened. He is domineering yet lonely. Such connotations contrast his clean-cut hair and street clothes.
Throughout the performance he tells a story — a strange journey that slips into the explicit without going over the edge, just like his actions that evoke rich eroticism without falling into orgasmic pleasure. He pulls his audience to the brink, but never climaxes. It is within this tension of sensuality, that he draws into relations of authority where submission or dominance are never clearly articulated. Instead he carefully allows glimpses into his erotic mind, using light, sound, and carefully controlled gestures to provide minimally staged evocations of the potential of force. I am drawn into this flirtation, left wondering what is beyond the allusion. The mystery shroudinh this sensuality evokes a complex desire that is left unsated and not understood, but it is the power of potential that leaves me wanting more.