Disjointed Arts productions attempt to examine what performance is and what it can produce beyond traditional dramatic models. In its projects, the body of the performer is not used as a vehicle of concepts, but as an arena within which concepts are generated by means of an encounter of diverse artistic collaborators that together generate a conceptual multiplicity which is immanent in the creative process. These projects are in part self-referential explorations wherein the subject matters that are addressed cannot be disassociated from the objective registration of the creative process. The projects question the ontology of dance, choreographic necessity and the relation of ethics towards aesthetics.
Disjointed Arts is convinced of the power that contemporary art has, as an agent of social change. However it is acutely aware that given the current consumer artistic economy this can only be possible through the mechanics of "self implosion". With its performances it attempts to inquire as to the limits of representation by experimenting with the boundaries of speech, narrative and the blurring of the distinctions between reality and fiction. Exploring the aesthetics of high and popular culture, kitsch, the grotesque and the concept of failure. It questions the accepted notions that the role of the artist is to ‘communicate’ and that an artist should have a unique handwriting. Utilizing all sorts of means (movement, voice, text, recorded and live music) to articulate concepts further, disrupt its comprehension and exhaust modern dance's notion of essentialism. It explores several layers of performativity and at times attempts to generate subjectivity in order to challenge orthodox notions of presence. By integrating all these elements together, these productions attempt to reproduce life’s continuities and disjunctions, capturing mankind desire for self-reinvention, rationality and its inevitable collapse towards the irrational or nonsense.

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