Opening the exhibition I performe a work titled "RISE", in collaboration with musician Peaches (Merrill Nisker). As Merrill plays minimal frequencies and beats on her MC - 505 (an electronic computer/beat box), I casually take off my clothes. Then I walk into the hair installation, "CAREFUL" and begin to draw on my body. I scratch my skin using only my fingernails and due to a skin condition I have (dermagraphia) the scratches rise up into welts...thus I create temporary welt drawings on my body. From my feet and up my legs, I render vines and leaves. The leaves grow more profuse on my thighs and burst into flowers on my pelvis and up to my shoulders. The design is remenisent of William  Morris. When the drawing is done, I raise my arms up into the air as the welts begin to bloom into the flowers I have drawn. I continue to hold my arms up for approximately 1/2 hour, and as I loose muscle control my arms involutarily move to the improvised music. I make a point of looking each of the viewers in the eye and I draw energry from them to keep going.
Actually, Hamburg was one of the best audiences, for their energy. When it seems time to end the piece, I walk back to Merrill, and my clothes...and get dressed.


The hair installation that I perform in uses hair found in public places. A large square is defined on the ground using three strips of carpet. The inner strip is a darker flesh colour and in a little longer than the outer strips. I have filled the space defined by the outer strips of carpet with the found hair. I tie individual hairs together to create long strands.
Hundreds of these delicate strands reach from floor to ceiling, to occupy the space of the outer carpet...leaving a pathway in the middle. The viewer walks through the path experiencing the powerful delicacy of the hair. Also this is the space in which I perform "RISE". This installation is very difficult to document as the hair are very subtle and alittle difficult to see.


Another part of SOLID are photographs of temporary welt drawings and photographs of my work >I AM EXTREMLY RATIONAL<. Here, my skin has been used as a site to sew. Using as thread human hair that I find discarded in public places, I have sewn letters into my body. Each letter becomes a photograph that together spell the title, " I AM EXTREMELY RATIONAL" . A couple of quotes from the exhibition brochure of a previous show at Mercer Union (Toronto), by Ken Hayes and Kym Pruesse, are as follows; "Reading "I AM EXTREMELY RATIONAL," leaves one feeling a queasy unease that is the opposite of reason's certitude," and "the artist is as intent on expressing the structural condition of having a meaning as on expressing the meaning's specific content. The work sits on the edge of pronouncement -pointing to the idea of the hidden, speaking about the pleasure and horror of not being in language, of not having words."

Lisa Deanne Smith, 1999