Defending Plural Experiences is the title of my major body of work, and is also the title of my exegesis. It is a quote taken from Paolo Virno’s writing on his concept of “multitude” which redefines masses as a group of “many individuals”. This term is a way of situating my rhizomatic, pluralistic approach to art making and also my political intentions. The research outlines the developing relationship of the museum and the subject leading into the 21st century as one that allows for new ways to view and experience artworks. Through choreographies and video and video, working with a mixture of trained and untrained bodies, the people who perform in my works play themselves, and embody their own person. Here, I am interested in outlining the social conditions at play and producing a new situation. In working with bodies I respond to a post-Fordist condition of contemporary labour from a feminist, posthumanist perspective. Bodies also appear as material couplings through sculpture. These are attempts to expand the possibilities of human and non-human, living and non-living bodies, address how we might understand ourselves as a species, expanding our experiences ethically and joyously. Within my presentation I present a live art experience, where I analyse the exhibition format as a forward pathway through the exhibition, as a navigational performance or parcours that becomes temporal. This follows the research of artists who have explored how the theatre format, which holds a group’s attention for a fixed amount of time, has redirect the value of the art experience.