The Place, London 2024 / Quarterhouse Folkestone 2025

The Chair is a solo performance that delves into the complex emotions of loss, memory, and acceptance. The narrative explores a spectrum of emotions, around the issues of suicide and ends in the realisation of irreversible loss and the harsh truth that some wounds cannot be healed and some absences cannot be filled.

Created and directed by Terry Smith and developed in collaboration with performer Lise Boucon. This carefully choreographed production unfolds without the use of words or music, relying solely on movement and expression to convey a profound narrative.

First performed publicly at The Place as part of Resolution 24 February 2024 and as part of wavelengths festival July 2025

Technical Specs: Props: One chair, no music or words. Black-box or studio theatres, in the round

Mirror2

The Whitechapel Gallery, London 2023

Mirror is a live artwork preoccupied by isolation, repetition, and routine – human conditions which concern, absorb, and connect us. The central music is the piece Two6 by John Cage with other audio works completing the soundtrack.

Mirror2 was conceived, visualised and directed by Terry Smith with Lise Boucon, Sarah April Lamb, Randolph Matthews. Paola Piccato is associate choreographer.

Technical Specs: Props: Three chairs, Sounds/music John Cage and other sounds

Black-box or studio theatres, in the round

SHADOWS

Quarterhouse Folkestone 2021

Shadows is a groundbreaking collaboration between artist Terry Smith and performer/composer Randolph Matthews. Their partnership merges distinct backgrounds to bring forth a unique blend of personal histories and shared artistic and social concerns.

A site-specific work, Shadows leverages the idiosyncrasies of the performance space – from the particular characteristics of the building to the ambient sounds that populate it. This multidisciplinary piece combines elements of performance, dance, and theatre to create an immersive experience for the audience. A solitary figure moves through the space like a spectre, at times barely acknowledging the spectators, transitioning between moments of self-absorption and interaction with the onlookers who find themselves situated on the stage alongside the enigmatic performer.

Technical Specs: Lighting: Spots zig-zag across the stage. Music: Composed by Randolph Matthews. Setting: Immersive, audience seated on the stage.

Mirror Mirror

Quarterhouse Folkestone 2021

Mirror Mirror: Innovative performance blending theater, dance, and art explores isolation. Performers delve into daily routines, stillness, internal contemplation, and chance encounters. Movements synchronized with music, industrial sounds, and disruptions convey introspective moments on isolation.

Mirror Mirror was conceived, visualised and directed by Terry Smith with Lise Boucon, Sarah April Lamb, Rubiane Maia, Randolph Matthews and Ash McNaughton.

Technical Specs: Props: Five different chairs. Sounds/music John Cage and other sounds

In the round

Ca’ Pesaro Museo Internationale d’art Moderna in Venice 2014

Foundlings was performed in 2014 as part of The International Performance Art Festival in Venice.

Foundlings plays with ideas of the hidden and the lost and with childhood. Also in a sense part homage to Hograth, Handel and Vivaldi who all made active contributions to institutions in London and Venice respectively, dedicated to giving vulnerable and destitute children a second chance at life. 

Foundlings was conceived, visualised and directed by Terry Smith with with Marita Isobel Solberg, Georgio de Battisti, Mauro Sambo, Micaela Leanardi and Samanta Cinquini.

Technical Specs: 3 musicians + 2 Dancers. Two video screens, sound amplification

In the round

COMBINE

V22 Peckham South London 2012

Combine is a site specific performance work, with live and recorded soundscape, five large projections, with dancers, three live singers and live music.

Combine was conceived, visualised and directed by Terry Smith with Choreographer Paola Piccato, Dancers Gurpreet Dosanjh, Anne Marie H. Kristensen, Helen Newhouse, Margriet Nguyen, Eri Odoru, Rachele Rapisardi, Tim Rawlins, Johanna Ryynanen. Live Music Fari Bradley Live vocals Claire Barton, Sophie Kent, Georgina Mottram. Voices on film Sara Daintree, Flore Philis, Linda Hirst, Claire Barton, Sophie Kent, Georgina Mottram

Recorded Music Ian Dearden and Keegan Dewitt

Duration: 40 mins. Five large video projections, recorded music, live music, eight dancers, three singers. Setting: Audience unseated, follow the action in different parts of the space.

Technical Specs: 8 dancers, 3 singers. Five large projections, Music recorded and live. Setting: In the round, audience stand, move and follow the action. Emersive.

BROKEN VOICES

Exhibited at The De La Warr Pavilion, Bexhill 2007

Performed in London, Liverpool, Riverside studio, Caracas, Venice.

Broken Voices, is a multi screen sound and video work first shown at the De La Warr Pavilion,

The project developed from a series of performances in London, Liverpool and Venice, it was also performed in Caracas in 2011.

The final realisation of this multi-screen and live performance as yet to be performed.

WALK DON’T WALK 2001

I made a walk in NY that was determined by the walk dont walk street signs. I left the decision of where I walked entirey in the hands of the instructions of the signs.

WORK FOR NEW YORK PEDESTRIAN INTERSECTIONS

A work that uses the streets of New York as the site, the structure and the score.
The particularity of the New York Street and sidewalk system means that on many junctions if someone was to walk very slowly they could keep moving continuously in a loop without needing to stop.
The crossing guidelines, the grid system, the traffic flow and the commands to walk and don’t 
walk, give not only a structure but also the instructions and timings.
Participant volunteers will be drawn locally and include dance classes and people without any dance or performance training. Through a series of workshops each of the players will develop a simple routine that will form part of a collective ensemble work. The final work, a continuous circus – circuit  around one intersection, will be performed either once, or a number of times at a single place or at a number of intersections. It’s a piece that can be scaled up from five participants to fifty.