MOTHERFUCKER is a multi-layered response to my experiences as a single parent.
I have remained an outsider with my queer birthing body, fluxing and crashing through different lands of otherness over my time as a parent. MOTHERFUCKER is a conversation on gender and the home with a look at those patriarchal hands that feed us, while all too easily pushing their silencing fingers in our mouths.
This new piece is an exploration of the binary, sex, death, life and the relationship western society has with the mother and the birthing body.
MOTHERFUCKER BUZZCUT // DOUBLE THRILLS, PERFORMED AT CCA GLASGOW Images by Julia Bauer
'Nicola Hunter's MOTHERFUCKER is full of bold and exceptionally crafted images and politics of wildness and care. It strikes me that this new work, from an artist to celebrate, has got an important place in the future mixing radical live-art within theatres and studios. A breath of fresh air!' - Nick Anderson (BUZZCUT/Amplifier)
'As the audience filed in to the space the jovial 'on a night out' feeling of the crowd quickly quietened and settled into the world of 'MOTHERFUCKER' as the space had been radically transformed using light, sound and projection. While all these devices were important in terms of setting the atmosphere it was the commanding presence of the performer that gave this piece such a strong impact. The audience was transported to a place almost beyond emotion, into a more primal, almost spiritual subconscious state. The whole room went with the performer on a journey through love, birth, loss, frustration, pain and anger.
When Nicola screamed the title of the piece at it's emotional climax the whole room felt it. She fucking meant it. It's this raw truth that gives this piece it's long lasting emotional power.' -Lea Cummings ( Performer KYLIE MINOISE)
I saw a performer who was enraged who wanted vengeance, retribution and to be heard. I saw a performance that seethed and held images filled with power. I saw a performer who performed ‘mother’. Who kneaded bread. Who bled. Who was constantly hearing their children’s cries so much it seemed to torture them. They showed us how they had ben violated and how extremely painful this was to them, and by extension to their children, whose pain the performer also felt and articulated.
The performance I saw was totally engaging. I was so enthralled, I was frozen. It was magic. -David Ronan (Audience Member)
Image taken at Deep Trash, CUNTemporary, London 2018 Photo by Thomas Hensher
Hunter closed the evening’s programme with new piece ‘Motherfucker’, an investigation of the gender binary, the birthing body and motherhood in western society. Hunter transgressed gender roles, transitioning from carrying a pregnant belly to buttoning up a suit, to the total baring of the flesh, and subsequent marking the skin with red and black streaks of paint. Caked in baking flour, which dusted the shell of the stage, they howled in warped repetitive speech and spewed a black tar-like substance from their mouth, denotative of their processing of pain. Towards the end of their performance, Hunter swathed a colossal weight of dough in their arms, kneading and working it, the dough suggestive of the developing foetus, but also the embodiment of anguish, fear, and love. As with the other performers, the materials used in Hunter’s performance become drenched with emotion, and signal a transformation of the self, through the leaking, meddling and crossing of bodily boundaries. - Maggie Kuzan, CONTEMPORARY LYNX MAGAZINE