- The service having id "propeller" is missing, reactivate its module or save again the list of services.
- The service having id "buzz" is missing, reactivate its module or save again the list of services.
When Genesis Breyer P-Orridge speaks, it is always from the subjective plural. There never was much room for singularity in the GBP universe: their first collaborations were musical (bands); communistic art experiments; and the development of pandrogeny. But after Breyer P-Orridge's late wife Lady Jay "dropped her body", the preferred pronoun is a relentless 'we'.
Their gallerist considers Breyer P-Orridge as "one of the most rigorous agents of the post-war Anglo American vanguard…embracing the body as not simply the vessel but the site of the avant-garde impulse." Before meeting their late wife Lady Jaye, Breyer P-Orridge was an English Fluxus pioneer credited with conflating the key elements of industrial music structure, with Throbbing Gristle.
They have lived life as one continuous experiment, unbound by societal constraints or any notions of normalcy. Overwhelmingly literate and spiritual Breyer P-Orridge easily commands their own reality, their own spectrum but always with compassion. Seriously.
The last time I spoke to Breyer P-Orridge, at a screening for Marie Loisier's Ballad of Genesis and Lady Jaye, we were discussing Culture Wars II. Somewhere in that conversation, Breyer P-Orridge mentioned that Jean Paul II was more progressive than the current pope because Jean Paul II openly admitted that God was both man and woman. Breyer P-Orridge stressed that such an admission was a clear sign of progress. Anybody else would have been ironic, but they were just too pleased that progress was simply being made.
Breyer P-Orridge, I'm Mortality, Installation Shot, 2012. Image courtesy Invisible Exports.
Currently, Invisible Exports is showing Breyer P-Orridge's second solo exhibition, I'm Mortality, in New York. I trace the evolution of Breyer P-Orridge's creative output as a transformation from aggressive performance art practices into a ritual practice of devotion and compassion.
The new works draw on indigenous Nepalese traditions of shapeshifting and reincarnation, as encountered by Breyer P-Orridge on his most recent trips to Kathmandu. This show blurrs the space between mortality and immortality but as experienced through biology and consciousness. What ever separates the material from immaterial—perhaps the alchemical?—is the primal clay of Breyer P-Orridge's creation concerns.
The works in I'm Mortality are intimately fierce: each romantic talisman is its own vessel, it's own site of anti-linguistic processing. I found myself questioning the immediacy of symbols in relation to emotional accessibility. Blood Sacrifice is a video work that features two bottles of