So, how does an artist transform her practice from underwater to altitide? Professor Paul Carter explains that Dr. Sarah Pell's practice instrumentalises the body in a particular way: as the one who aligns herself with bodies of water to perform aquabatics, not to experience a Jungian return to the womb, rather by designing a new cyborg adapted to extreme environments characterised by the subtractions of multiplication of external forces that condition the body for a particular self-awareness. To merge her body with the domain of high altitude and alpine exposures for the Bending Horizons 2015 Mt. Everest Expedition is again therefore to work with the non-linear properties of the environment, conditioning herself for high altitide climbing and expedition team-work to perform a double-act of self-transcendence to discover an extreme performance condition. The Art (expression), Body (performance) and the Tech (interaction) are indistinguishable from the breath of life. Or, as Professor Paul Carter concludes, relating the Shauberger's analysis of trout, "The 'adaptation' that Pell proposes would involve a comparable integration of physiology, physics and pnuema."
Aquabatics by Dr. Sarah Jane Pell 1. 'Second Nature Second Skin' (aquabatics with Da Vinci wings). 2. Petrification (with sonic artist Lawrence English). 3. Odyssey (aquatic-pneumatic performance) 4. Ocean Synapse (transhemisphere performance with Ben Bourke) 5. Deeper, Deeper, Deeper (monologue) 6. Terminal (underwater performance). Video stills copyright the artist.