Carrie Skinner (b. 1987 in Birmingham, UK) lives and works in Glasgow, UK. Carrie Skinner is into figuring out contemporary cultural relationships with time and its multiple concepts through popular imagery and themes from Gothic and Science-Fiction genres. She reluctantly makes solo performances for expediency and economy, and seeks out scenarios that anticipate spectacle and demand virtuosity but probably expose her failure and amateurism.
Ghosts and doubles haunt recent performance works, playfully illustrating the academic discourses of spectralities and liveness while testing the limits of the transitory relationship between audience and performer. She has been getting to grips with an experimental performance practice that switches between the languages and conventions of gallery and theatre, and getting over excited by the contradictions of presenting, documenting and archiving the ephemeral moment of performance.
Performances include: Radiophrenia, Glasgow, UK, (2017); Beggar’s Teeth at Glasgow Project Room, Glasgow, UK, (2017); Nowhere for TAKE ME SOMEWHERE, Tron Theatre, Glasgow, UK (2017); Lutz Mommartz retrospective for Transit Arts, Glasgow, UK, (2017); Time Isn’t Holding Up Time Isn’t After Us, Old Hairdressers, Glasgow, UK (2016); Cherry Picker at Rhubaba, Edinburgh, UK, (2016); Now that I have explained what is to be done I will proceed to do it, Glasgow Project Room, Glasgow, UK, (2015).
Published work include: ‘there's something happening somewhere: a score for a rehearsal or a re-enactment’, The Burning Sand VI ed. Sarah Lowndes, Glasgow, UK, (2016); ‘Mary This One's For You: A Romantic Drama in Three Acts’, Gnommero: Multiplicity ed. Sarah Tripp and Richard Taylor, Glasgow, UK, (2015).