Fight Take . . . 2026, sound and video installation with running text, wool, metal, marble, and tiled stands

Fight Take . . . 2026, considers individual and interpersonal freedoms. In an actual social context, a culturally determined social score seems “scripted” and all ready to embody and enact. In the arts the score or the scripted play, a set of ideas are suggested by the artist or the player. In theatre, film, in 1960s Conceptual Art, in contemporary art, and in contemporary “wide world” game programs, a script is often foregrounded and sometimes largely fixed and definitive. 
Fight Take . . . foregrounds instructional terms for a filmic stage fight.

It is an irony that real life fight tactics, inexorably bind adversaries to one another in an endless cycle of pointless and painful repeat; stuck in the scripted reality of conflict yet never “united” by it. Perhaps we need to talk on complex unities therefore and the democratic possibilities of agonistics.[1]

Reed challenges us to consider the agency of the “feint to higher ground” through works of art. Can we challenge the scripts of self-referential contained systems patterned by individual “thought-habit” and popularity based social reward?
Equally can we be discerning about “smart” self-referential AI systems and smart objects stepping beyond through surprising physical human thought-action.[2] Her mixed media, multimedia and interdisciplinary approaches including performance can offer opportunities for inventive allusion, and collaborations opening audiences to intelligent conversation and diverse interpretative forums.

[2] (also “sandbox” style programs like Minecraft do not close around a defining narrative but allow more open play “wide world or open world” and interpretive creativity with given tools)

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[1] A political and social theory that emphasizes . . .positive aspects of certain forms of conflict. See Chantal Mouffe, Agonistics: Thinking the World Politically, New York, London, Verso, 2013