I put forward the term 'adornment' as a way of articulating a specific type of costuming found in non-representational and non-character based performance practices (such as live art). I suggested that adornment draws attention to the aesthetic properties of what artists might wear or use, and can blur concepts of traditional costume and/or prop.
I analysed each work in terms of the material, symbolic and metaphoric instances of expression. I spoke about the embodiment of socio-fashioned female roles, and how multiple instances of adornment can transcend distinct categorisation.
I spoke about some of the active processes in performance, both as an artist and an audience member. I spoke about the interpretations of poetic artworks which offered multiple meanings, and how the materiality of costume can change in the course of durational work.
I spoke about the slippages between revelation and concealment, and how adornment can draw attention to the materiality of the body by restricting and suffocating.
I concluded by suggesting that adornment enhances and heightens our awareness of the body in performance, and that it allows us to reflect on how the lived body operates and is manifest symbolically and metaphorically.