The compositional form that Mays’ work utilises as a method of bringing together the subject and the object, the personal and collective, the real and fictional, is prominent in her performance conversations with Figaro. Fables about companionship (con pan ~ with bread) were structuring the narrative. The audience was exposed to a conversation between Mays’ and an imaginary bourgeois dog called Figaro. Three voices coincide, whilst concurrently replacing each other; the first is speaking to the dog who replaced the presence of children in Abraham and Louisa Holthuysen’s life and who’s large portrait is to be found in the Men’s Parlor. the second one is telling stories about work and the third is uttering words on interspecies, territorial deconnections. The artist Jannis Kounelis says that ‘A space is its gaps. You can only read it through its chasms, otherwise you only see rooms’. Mays’ presence, tonalities, gestural expressions, vocal amplifications, intersecting words, intend to generate another meeting, where responsibility between the audience and the performance is shared, where the meaning is not imposed but let free.
[excerp from text by Ioanna Gerakidi, 2019]