This essay re-examines several examples of non-performance based artworks from the perspective and history of performance art. For instance, the photomontages I produced as an undergrad art student were based on repeated acts of stealing posters from their public sites on the street between my house and the college. Later, while working collaboratively with Mark Hutchinson in Manchester and London, we made photograms and paintings of scenes that we enacted on the street (striking a match, taking a flag for a walk). Years later, as a solo artist again, I produced a body of work in the form of slide presentations that consisted of photographs of me dressed in homemade costumes that cast me as a monster. In my work with the Freee art collective, we used slogans, our own bodies, costumes and props to give material reality to slogans that we treated as scripts. We wrote manifestos and staged events in which participants read. So, while the forms of my work are image based, the rationale is typically tied to the techniques and values of performance.

中文翻译：

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想象、承诺和其他脚本行为：表演（艺术）

本文从行为艺术的角度和历史重新审视了几个非行为艺术作品的例子。例如，我作为本科艺术生制作的蒙太奇照片是基于反复从我家和学院之间街道上的公共场所窃取海报的行为。后来，在曼彻斯特和伦敦与 Mark Hutchinson 合作时，我们制作了我们在街上表演的场景的照片和绘画（划火柴、举旗散步）。多年后，我再次成为一名独唱艺术家，以幻灯片演示的形式制作了一系列作品，其中包括我穿着自制服装的照片，这些服装将我塑造成怪物。在我与 Freee 艺术团体的合作中，我们使用了口号，我们自己的身体，服装和道具，为我们视为剧本的口号赋予物质现实。我们撰写了宣言并安排了参与者阅读的活动。因此，虽然我的作品形式是基于图像的，但基本原理通常与表演的技巧和价值有关。