EMILIA WHITE

From September 23-27, 2024, I occupied the Special Projects Gallery (SPG) at York University’s School of Art, Media, Performance & Design (AMPD). The gallery began filled with polyester stuffing, and a sewing station with a machine was set up near the large windows facing the lobby. For four days, I worked at the machine, sewing large fabric “worms” using the polyester stuffing and colorful satin fabric. Visitors were invited to stop by, chat, help with stuffing, or lounge on the completed worms. By the final day, the polyester stuffing was gone, and the gallery was filled with vibrant, colorful worms.

A "Worm Walk" was advertised widely across campus, and at 2 PM on Friday, September 27, an audience gathered in the gallery to participate. Together, we carried the worms out of the gallery and into public space. The procession moved through campus, in and out of buildings, and across the grounds. Once back in the gallery, participants made giant piles of worms to jump into, wrapped themselves in the worms, or used them as pillows.

Reflecting on the week, several themes emerged:

Art as labor: Over two days of sewing for eight hours each, I made twelve worms. It would be easy to continue producing more, emphasizing the relationship between time, effort, and creation.

Worms as play: The worms are soft, colorful, and inviting. Designed to be handled, wrapped around bodies, or used as pillows, they foster a nurturing and welcoming environment in the gallery.

Sewing as meditation: The act of sewing felt like a rebellion against the fast pace of daily life, demonstrating how much can be achieved when time and focus are aligned.

Spontaneous connections: Being present in the gallery opened up opportunities for conversations and interactions with people from across campus that wouldn’t have occurred otherwise.

The evolving meaning of the worms: Over time, the worms have taken on emotional and bodily associations. They remain open to interpretation while holding a visceral presence.

Accessibility and community: The open nature of the gallery allowed visitors to engage with the process, making the art objects touchable and inviting interaction. The "Worm Walk" further extended this into public space, fostering a shared experience.

Art in motion: When moved, the worms became almost puppet-like, animated by the movements of the participants.

This is an ongoing project. I plan to continue making worms and exploring how they can generate meaning, promote accessibility in art, and engage others in the process.

Previous iteration:
I led a workshop on interactive performance in June 2024 at the Directors Lab North in Toronto. Our focus was on early avant-garde performance techniques aimed at breaking the fourth wall. Participants explored the Fluxus Performance Workbook and “performance scores,” where artists create written or visual instructions for actors and audience members. The emphasis was on crafting clear, simple instructions that encourage creative interpretation. 

We then engaged in a “Worm Walk,” using a long blue silk stuffed object. The instructions were:

1. Hold on to the blue silk worm. 

2. Walk it around and invite anyone you encounter to join in.

3. Together, find a natural ending. 

The absurdity of the act led to a humorous and inclusive atmosphere. Participants carried the worm from Tarragon Theatre onto the street, inviting passersby to join. One passerby-turned-participant redirected the worm walk to a playground to pick up her daughter, while another guided the group around the playground equipment. The walk culminated in a participant-directed group photo, highlighting the influence of chance and the audience’s role in shaping the event.