An international collaboration with Filipino artist, CJ Silva aka frameweaver. Mapping Techno-sensitivities: Exploring Embodiment Metaphors as Organic Decaying Blob Forms explores the artists’ desires to erode the body-as- machine metaphor through dialogues filled with solidarity: dreaming, stumbling, failing, exploring together with a fellow disabled artist situated in a different geographic space, but with resonating concerns. As disabled artists interfacing with the digital medium, we map out our technosensitivities: points of pleasure, pain, breaches and boundaries around technology, and explore embodiment metaphors that make more space for errors, breakdowns, sloppiness, and erotic oozings through text, animation and music. This project is funded by a British Council Unlimited Micro Award, supporting connections between UK and international disabled artists.

Performed at Southbank Centre as part of Lucinda Chua’s Purcell Sessions in collaboration with ESEA Sisters and Reference Point Lates curated by Diasporas Now ‘pond’, is another excavation of a body in return and reclamation of Chantel’s training and roots in traditional Chinese dance. with sounds by SIngaporean artist Mervin Wong, and 古琴 (gu3 qín) samples by Chloe Foo. Chantel obscures their face in this work. “Gathering what I have undone from my body’s history, the steel I have beaten into my skin to shield my body from the whiteness of this gaze. This is my body’s first home. This is the dance that has saved me repeatedly over the years and one of the first violent love of my life. Unsurprisingly, there is more it offers to teach me.”

Live-streamed performance (20 min) with 2 camera phones and a laptop, felted merino wool, video projection and sounds. Felted merino wool stained with chinese black cardamom, dried lily buds, liquorice root; red dates, astralagus root, codonopsis root, angelica root; joss stick incense. Sounds made with Odete (Portugal) and Valeria Radchenko (London) with sampled sounds from personal archives. This work is some sort of spilling over, through the screens, collapsing and reaching towards a pooling self in my always-arrival, never-there. It traces a history of institutionalised coding (and un-becoming), merging provocations into the telematic glitch space with material, felt embodiedness. ETIAAA came from a sort of surging force, that desire to be ungraspable/illegible because perception is violent, and at that point it made sense to incorporate these dissonant (?) materials, sounds and ghostly apparitions of past selves into a state if arrival. to perhaps enter, finally, the space in between the glitch screens (being watched, not being seen). At its core I think ETIAAA is simply an earnest offering of some sort of alchemy of self, I questioned and answered myself once, "who am I reaching towards this time?" and it was "myself". Perhaps worth noting the work seems to never land or arrive and continually journeys. My works prior to this seemed always to reach towards the audience/elsewhere and through distanced geography, a tending-towards someplace outside of me. Although the work has so many elements (I felt like I was making 4 different works at once), I also departed from attempting to distill anything I desired to include in ETIAAA-- something I might have once confused for thoughtfulness. -No Format Gallery 2021 -Solo Show at Sluggg Leipzig, curated by Colette Patterson

Live-streamed Performance in London two cameras, speakers, and television screen, responding to sounds live in Singapore. With Endless Return Singapore Virtual Rave #2 Presented By: Edgecut Performance Series in partnership with New York Live Arts Endless Return is a regenerative virtual rave that seeks to provide some form of relief and intimacy by providing escape into the expansive terrain of digital space — a terminal to many realms.

This diptych film is a by-product of a live streamed performance “Your Now is My Now” by Chantel Foo on 3rd February 2020. Produced between two remote locations, London, United Kingdom and Singapore, it was executed through one Skype video call (between London and Singapore) and two different Facebook Live’s (from London). 在[zài], also now stands as an autonomous piece of work. This work consists of two videos: a) documentation of performance in London and b) documentation of performance in Singapore. The instructions are as follows. - Both films are downloadable in full for free if requested. Otherwise the first 5 minutes are available on Vimeo. - Open both films on separate tabs or windows on your device/s. Endeavour to play them at the same time, side by side. Each video contains the full duration of the livestreams (as recorded), and begins at the same timestamps. 在[zài] is a character in Mandarin to mean and be associated with the following meanings1: - (located) at - to exist (within) - to be present - to be in the midst of doing something - (indicating an action in progress) ~ Accompanying text for “Your Now Is My Now” February 2020: “tunnel trace screens meeting missing my now is your now; our now ruptures in the code of presence merger within the lands drawn by distance this omni-space scaffolded by time Lines time Zones time Frames ... Oneness is immaterial, I am missing you latent touch and silk signals i hand you the spool meet with me in our blue light portal happen alongside my glitch body”

Performed 11th December 2019, the work consists of a choreographed PRELUDE, followed by an improvised performance by the artist. PRELUDE How do we script space? How are we subjects of entanglement, how do we confront/occupy space as subjects of entanglement? Devised with and activated by performers Isabel Phua, Lee Xuejing and Pierre Babbage, Chantel Foo animates the architecture. Bodies become scripting agents, as gazes reading the space we write. Sounds by Saskia Horton. AUTO-ANTONYM: GLITCH (Auto-antonym: words that are their own opposites) An inquiry into the mechanics of form, and systems of Self: Who authors the body? Who reads it? What does it mean to glitch, what does it mean to choose to glitch? Anchoring this discussion with movement, power hierarchies within the temporal body are fleshed out, reassessed, and codified. Sounds [Non-self 비자아’] by Jaeho Hwang.