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Introduction and Proposed Project

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Methodology and Rationale

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Methodology and Rationale

In our call, we discussed some themes we are both interested in and settled on creating a piece about transgender identity. We also discussed the idea of mundanity and the sadness, reflection or humour that can be found in boring/repetitive activity. This led us to the idea of showing trangender mundanity, a trans person doing completely run-of-the-mill activities, something we feel is rarely shown in media. So much exposure of trans individuals in recent years has portrayed us as strange, exotic or dangerous, so the idea of a trans person doing every day tasks like brushing your teeth, folding laundry, boiling the kettle was interesting to us. I want to instil in the audience that we can be nothing to fear or fetishise while being different.

Currently, we are having regular meetings to come up with our final concepts for the project. Once we have settled on this, we will begin creating costume, planning the storyboard and rehearsing. We want to work on these elements together so that the final result can be as cohesive as possible and because we both have experience in both fields so it will speed up the process. The costume will likely be created out of found and recycled materials to reduce costs and to create a DIY aesthetic as we both like this. I intend to record the samples for the track using a Zoom field recorder as it is easy to carry, I can book them out of uni and they give good quality recordings.

Once the planning is completed, we can film and edit the video. I have worked with the videographer before and she has experience both shooting for collaborators and also directing, so I am confident she will be able to create a brilliant product. Before filming, I will create a storyboard so that I can share my vision with her. Then, we will shoot over a series of days and edit collaboratively and then shoot interviews to contextualise the project and the process of creating it, which was called for in my presentation feedback.

Appendix 2: Gantt Chart

Appendix 3: SWOT Analysis

Market Analysis

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Market Analysis

There is a growing scene in Leeds for performance art and experimental noise music. For example, a recent event I took part in was Slime Mold Rodeo at Wharf Chambers, a ‘virtual vaudeville’ of performance pieces. The event had a good turnout and made a profit which was split between the 10+ performers and the performances were centred on a range of topics such as internet culture, transphobia and human nature which are similar to our intended theme. The organisers are planning to hold a similar event in the future.

Appendix 4: Photographs from Slime Mold Rodeo (via @slimemoldrodeo on Instagram)

Another example of the scene is Conceived Conceptions, a monthly open mic night for experimental or work in progress pieces. These have been running at venues such as Wharf Chambers and The Fox and Newt since March 2025 and given opportunity for many artists to show their performances without the pressure of needing to be polished/marketable.

Appendix 5: Posters from Conception Number 2 (via @conceivedconceptions on Instagram)

Your Market/Target Audience

The target audience for this film is other creatives in the performance art scene as well as fellow trans people who might be comforted by the message. I plan to release the film on youtube and potentially show it at a future Conceived Conceptions night. My peers in this space are mostly aged 18-30 and work in creative industries/study a creative subject.

Costs and Budgeting

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Hypothetical Budget

The artist plans to create costume and props from materials he already has and has agreed to work on the project for free, so no budget is required here. The videographer also has all the equipment required (camera, tripods, lights) and has agreed to work on the project for free. Therefore, there is no funding required for this project.

Inspiration and Influences

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Inspiration and Influences

I was personally inspired by the work of Stephen Varble and his 1970s Gutter Art movement; a series of impromptu public performances that mocked/parodied gender, class and elitism. Varble, in his persona Marie Debris, would appear in New York in glamorous genderqueer costumes built out of trash and lead displays that revolted commercialism in art as well as ideas of binary gender. He had a hostility towards institutions that were elitist which led him to find his own spaces for performance – the street. An example of these performances are his Costume Tours in which he would wordlessly lead onlookers on unauthorised tours of art galleries and high end retailers, aiming to bridge the gap between the public and commodified art exhibits. A lot of his work has been lost to time due to the AIDS epidemic that killed Varble as well as many of his collaborators and photographers, but some small exhibits have been shown in the last ten years by his main photographer Greg Day.

I find the public nature of his performances very impactful, as it both comments on the lack of access to financially accessible, inclusive art spaces (something many queer artists around me continue to be affected by) while involving and questioning the general public; art should be open to everyone. I’m also deeply inspired by the beauty he creates in his costumes that use street trash and food waste – things that would ordinarily be seen as ugly. To me, this parallels the strangeness of genderqueer expression through which many of us, purposefully or by nature, directly oppose ideas of beauty both universally and for our respected genders i.e. body hair, patched and stained clothes, DIY haircuts, muscular women, short men, etc. Through our difference, we create new beauty.

Appendix 6: Photographs of Steven Varble

Appendix 7: Performance Film Example

Contingency/Risk Assessment

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Contingency

Possible points of difficulty:

If the performer or videographer had to drop out of the project – I have connections with many other performers and videographers I could work with. However, this is unlikely as there is a lot of possible time we could film during.

Poor weather conditions if we are filming outside – I will plan to film on more days than are necessary, so that we have opportunity to catch up. It is also possible to plan some shots inside for days with bad weather.

Additionally, filming in public can be difficult without the right planning due to unpredictable members of the public and filming laws. Therefore, I have researched laws around public filming and found that ‘there’s no law preventing people (including businesses and professionals) from capturing video or taking photos in public places’, but there are laws preventing harassment. This means that I cannot film in a way that is ‘aggressive, targeted or humiliating’ or cause ‘alarm, or distress to others in public’, or film ‘in an intrusive way’ (Solo, 25). There are also laws protecting data, which won’t apply as long as footage of the public isn’t released commercially (I plan to edit out or blur members of the public if I release the film online). I don’t intend to have the performer interact with the public or be in busy places, so I think it is unlikely that we will capture any faces. It is not necessary to inform members of the public that they are being filmed, but we will create signage to inform people. You also don’t need a license to do street performance in Leeds, and we will follow their code of practice.

Appendix 8: Risk Assessment

Risk	Explanation	Prevention
Harassment from members of public	By drawing attention to ourselves with costume and cameras, members of the public may harass a member of the team. This could potentially lead to injury or distress.	We will not be engaging with the public and will bring additional layers for the performer to wear between shots. We will bring a chaperone for the performer so that they are better protected.
Traffic	In the street, there may be cars or cyclists that could lead to injury.	We will travel as a group paying keen attention to traffic and obey all pedestrian laws.

Potential for Development

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Potential for Development

This piece ties into my interest in performance art and electroacoustic composition, which I intend to expand on in the future through work in theatre and performance. I am studying electroacoustic composition this year, so I have been gaining experience in this artform and will continue to tie it in with my other final project. The relationship I have formed with the performer will allow us to continue working together on future projects, potentially creating a series of similar films/performances. These could explore other facets of the queer experience or entirely new concepts.

Evaluation Viability

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Evaluation Viability

This project is viable because:

• The skills required are fully within my, the performer’s and the videographer’s skillsets as we have all had experience with similar projects in the past.
• I have contingency plans for any potential scheduling difficulties and have researched filming/performance laws and created a risk assessment
• The timescale is very achievable, with plenty of spare time.
• We need no funding to carry out the project.

Appendix 9: Presentation

Appendix 10: Presentation Feedback

Bibliography

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Bibliography

Bunyan, M. (2019). ‘The Gutter Art of Stephen Varble’. [online] Art Blart _ art and cultural memory archive. Available at: https://artblart.com/2019/05/14/exhibition-the-gutter-art-of-stephen-varble-at-one-gallery-west-hollywood-california/.

Getsy, D.J. (2017). Rubbish and Dreams: The Genderqueer Performance Art of Stephen Varble [Sept 2018–Jan 2019]. [online] The Archive [of the Leslie-Lohman Museum of Gay and Lesbian Art]. Available at: https://www.academia.edu/35451342/Rubbish_and_Dreams_The_Genderqueer_Performance_Art_of_Stephen_Varble_Sept_2018_Jan_2019_.

Leeds City Council (2022). City Centre Advice on Activities. [online] Leeds.gov.uk. Available at: https://www.leeds.gov.uk/commercial-opportunities/city-centre-advice-on-activities.

Solo, A. (2025). Can You Film People in Public? Understanding UK Law for Businesses and Content Creators. [online] Sprintlaw UK. Available at: https://sprintlaw.co.uk/articles/can-you-film-people-in-public-understanding-uk-law-for-businesses-and-content-creators.

Valinsky, M. (2019). A Forgotten Precursor of Genderqueer Performance Art. [online] Hyperallergic. Available at: https://hyperallergic.com/the-gutter-art-of-stephen-varble-genderqueer-performance-art-in-the-1970s-photographs-by-greg-day-one-gallery.