A. E. Kingsmill

Artist London, UK

Amy Kingsmill (1991)

I am a radical, queer London-based performance artist. My work focuses on transformation and transcendence, combing beauty with arrestingly visceral actions. I create both minimalist pain-based ritualistic performance, and strongly visual works which present costume as an installation on the body.

I am currently working on Light Source my first Arts Council Funded Project in collaboration with The British Library with a Research Residency at the Live Art Development Agency Our launch event is a talk by Ronald Hutton on June 29th. - http://light-source.co.uk/

Since graduating from Central Saint Martin’s (2013) I have performed 'Fairytale' at the first Karachi Biennale (2017), 'Bleeding Skirt' at Tempting Failure International Biennale of Performance Art and Noise (2018), 'Journey' at Spill Festival of Performance (2014), 'Corpus Sonos' at Panopoly Lab New York (2014) and at LAST projects Los Angeles (2019), 'Trance Dance' at Franko B’s Untouchables (2015), 'Bloom' at Liquid Rooms, Venice (2018), 'Birth' at The ICA London as part of Fluid0 by Shu Lea Cheang (2019), and at The Globe, LA (2019) and presented a collaborative work, 'Tender Blood', with Sheree Rose (2015). I also cohosted Methodologies in Body Art (2017) with Sheree Rose and Rhiannon Aarons as part of LADA DIY+.
 I currently run the Extreme Performance Association at LADA.

'Welcome to the new esoteric theatre. Its not minimalist and its not maximal. Meaning a costume drama without sets. The iconography - yes archetypal - is pumped to cartoon colours and graphics. But the speed, the intention, is pure luxury. Amy Kingsmill straddles cabaret/trance/spectacle and infuses the space with exuberance.' -Ron Athey

‘A Unique Spectable’- M.M Alam, NewsPakistan.tv (Official Partner of BBC News)

‘Bloom was astounding, it was disturbing, it was intensely beautiful…She stared at us and slowly, gracefully walked away, and yet still no-one could speak… A performance that was both hugely affecting and liberating, difficult and freeing, painful and beautiful, all these things and so much more. Just making us stop and think and consider amongst all the mess of our lives was perfect. Control and action. Delight and debased.’- Emma Harvey, Organ Thing

‘I left Amy Kingsmill’s Journey gob smacked, contemplating both the swan like beauty of her journey, the pain and its ludicrous futility... the image that will haunt me from the day is that of Amy Kingsmill, her white dress revealing her bare back into which are driven steel pins that take the weight of a heavy fence she drags behind her whilst tottering on impossible heels. As the audience leaves she is left bowed but still, the dying swan.’ -Matthew Linley

‘Amy Kingsmill's Discarded uses endurance and costume to create a disconcerting, uneasy
experience for the viewer. Interlacing references to toys, violence and sexuality- there is
something undoubtedly disturbing about this piece which echoes with the viewer long after
the initial encounter.’

'The motionless stance conjures the sense that “ this is art”, the onlooker’s gaze drawn towards the mesmerising gravitas of the still figure...Using objects for new purposes and juxtaposing specific components all help to dictate the end result.' -Mark Milligan, 1Granary.

'Amy Kingsmill, is an artist who, through incorporating her love of all things surreal and fetishistic into her performance work, creates looks that viewers have described as disturbing and arresting, but also empowering.’ -Rachel Hardwick, Skin Two.

'It was quite stunning; a strange experience to witness amidst the comings and goings of people and the duration increased my sense of discomfort and delight.' - Sarah Cole, Artist

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