Owen G. Parry (b.1983, Wales)


I am an artist and researcher working across performance cultures in theatre, live art, installation, sculpture, sound, moving image and writing; exploring subjects including trash, queer performance, fandoms, fascism and Yoko Ono. My practice uses minor, colloquial and collective processes to explore the submersion of avant-garde aesthetics into the mainstream, and to think through modes of escape and sincerity within late capitalism. I use art to ask questions, to heal, to subvert power structures, and to imagine other more-pleasurable ways of living or just being together.


I initiated the Fan Riot project (www.fanriot.tumblr.com) in 2015, an expansive programme exploring the convergence of art practice and fandom since the internet including a Fan Club series, workshops, publications, artworks and performances. I am currently undertaking a Post-doctoral Fellowship (Digital Scholarship) at IASH University of Edinburgh (2018-19), exploring the aesthetic productions of anti-fandom and haters.


I completed a PhD at Goldsmiths in 2013 on the subject of Trashy Tendencies in Contemporary Art and Performance, I was AHRC funded researcher on Performance Matters with Live Art Development Agency 2009-12, and i'm an associate lecturer in Fine Art at Goldsmiths, University of London, and Central Saint Martins, University of the Arts.


My work has been included in shows and programmes internationally including Transition Gallery, London 2018; Fierce Festival, Birmingham UK, Tansin Talo, Helsinki Finland (2017); Queer Gestures at Barbican, Steakhouse Live, Jerwood Visual Arts (2016); The Show Room, Artsadmin, Latitude Festival (2015); Wellcome Collection, South London Gallery (2014); ANTI Festival, Finland, National Portrait Gallery, Reactor Halls (2013); Hayward Gallery; Duckie; Trouble Festival, Belgium (2012) and more.


Publications include chapters and articles in The Creative Critic (Routledge, 2018); Fandom as Methodology (Goldsmiths Press, Forthcoming 2019); Theatre & Fandom (University of IOWA Press, forthcoming 2019); The New Inquiry (2017); Contemporary Theatre Review, General Fine Arts (2016); Performance Research, The New Inquiry (2015); Live Art Almanac 3 (2013); Performing Ethos (2012); and co-editorial of Dance Theatre Journal (2011)