This paper situates the author’s performance art practice, Disaster Girl, in the theoretical lens of ecomaterialism to analyse media art and praxis. Disaster Girl challenges audiences with remix, bricolage, and collaborative modes by confronting dystopia by juxtaposing political satire and environmental exigency. Three recent Disaster Girl projects, ranging from the written to the performative, are reviewed: A Camouflage Opera (2019), based on Kurtág: József Attila Fragments with soprano Judit Molnar; Bile for Bog Roll (2020), an audiovisual site-specific poetry performance; and Murphy’s Law Or: (2020), a participatory archive and networked performance. These examples help examine authorship, agency, and control through Guattarian ‘ecosophy’, the cyclical nature of interrelated ecologies and anthropogenic degradation, and Anne Carson’s ‘circular reasoning’, emotion and disorder becoming a self-fulfilling prophecy. Thus, Disaster Girl engages with relational, social, emotional, and material assemblages within the poetic realm.
Keywords: performance poetry; ecomaterialism; Capitalocene