Show notes
In this episode I’m joined by the extraordinary Wet Mess - performer, shapeshifter, and maker of work that sits right on the ecstatic fault line between desire, politics, embodiment, confusion, and joy.
We centre the conversation around their solo show Testo that’s been touring over the past year. It’s a work born from a live, personal question: whether or not to take testosterone, and what that decision means socially, physically, psychologically.
We talk about how you can stretch a reveal across an hour. How pacing and punctuation shape tension. How repetition changes meaning depending on the intention you bring to it. How the same action can land differently in different cities and how trans experience is heard through different filters.
We dig into training - how Wet Mess conditions both body and mind to hold euphoria, anger, and absurdity without collapsing under it. How they choreograph points of view. How entertainment spaces have taught them things the art world did not. And how stepping into cabaret felt, at one point, like a liberation and even a rejection of fine art’s constraints.
There are real insights here about what performance can hold that white cube spaces sometimes struggle to contain. About how spectacle and seriousness are not opposites. About what you learn by attending to the same process over and over again until it deepens.
And alongside the artistic revelations, we also speak candidly about touring, sustainability, hiring a producer, stacking the finances so the work can travel, and how to prepare and decompress when your body is the medium.
I hope you enjoy it as much as I did!
KEY TAKEAWAYS
Spectacle isn’t a distraction from seriousness; it’s one of the few containers big enough to hold euphoria, rage, and politics at the same time.
When your body is the medium, sustainability isn’t a luxury add‑on. Training and decompression are part of the choreography, or the work doesn’t last.
Testo doesn’t resolve whether to take testosterone; it lets us sit inside the risk, desire, and possibility of not yet knowing.
BEST MOMENTS
“A lot of the process of performing is caring so much about what the audience receive, and then also letting go of that, because you can never fully control it.”
“I got really interested in what it means to reveal, how you can stretch that out over an hour-long show taking off layers of costume, of self, and kind of getting deeper and showing different layers of oneself or possibilities.”
RESOURCES
https://wetmesswetmess.com/
https://www.instagram.com/wet_mess
HOST BIO
With over 35 years in the art world, Ceri has worked closely with leading artists and arts professionals, managed public and private galleries and charities, and curated more than 250 exhibitions and events. She has sold artworks to major museums and private collectors and commissioned thousands of works across diverse media, from renowned artists such as John Akomfrah, Pipilotti Rist, Rafael Lozano-Hemmer and Vito Acconci. Now, she wants to share her extensive knowledge with you, so you can excel and achieve your goals.
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