The only sounds heard in the Linen Building during the Performance Art Gallery on March 25 were the buzz of some faraway register and the sounds of exertion as Catie Young, Elizabeth McSurdy and Amanda Micheletty (calling themselves Heimlich) spun, marched, twirled and leaped through the middle of a space where the night before, throngs had danced to Araabmuzik.
The Gallery consisted of Heimlich, John Shinn’s film installation about being removed from nature, Matt Truslow’s spoken-word performance, Peter Max Lawrence and comic artist Christopher Hunt.
In front of the stage, Hunt unrolled a seven-foot sheet of white butcher paper and began sketching a robot. Hunt admitted he hadn’t slept in days.
“They kind of wanted a graphic artist while people were moving around,” he said.
As the robot began to take shape, Hunt admitted he hadn’t yet decided what kind of story he was telling.
“It has to be sequential imagery, but I really haven’t thought about it,” he said.
As Heimlich finished its performance, the audience began to mill around the stage area and socialize. Young broke away and pointed out a sheet of paper towels hanging from a support beam. On the towels were written a list of themes, including “hugging,” “darkness and light” and “imposing humanity.”
“We didn’t get to all of them,” Young said.