PVBLIC BATH is the solo audio/video incarnation of arthur katrina. Primarily a printmaker dedicated to duplication and dissemination, opposed to preciousness, and committed to access to tools, PVBLIC BATH uses obsolete family VHS equipment (once marketed for its amateur accessibility) to process information and dwell on passing moments in time. Disturbed by the acceleration of communication technology, selective nostalgia and disposable memory, PVBLIC BATH is a meditated process of the world as seen through no longer desired viewfinders. Using broken and breaking tools for seeing and hearing, PVBLIC BATH is a collaboration between the conductor, their machines, and the light and sounds that are illuminated as the result of their movement together.
Informed by the sub-cultural attraction within metal, punk, and noise to suffering and abjection, the project inverts a victimizing gaze to make sounds & images by and for grieving freaks/survivors/invalidated bodies. Live sets are created with the idea of healing and protection in mind, assuming that trauma is nothing new to those drawn to harsh places. Believing that noise is inherently destructive to binary, hierarchy and respectability, PVBLIC BATH is made with the tools at hand with disregard for legibility within a genre – surrendering to intangible frequencies, amplified and guided to magnify an often unseen yet ever-present current.

(PVBLIC BATH regards performance as a conscious act of public vulnerability and consented power to lead a shared experience. bathing is a space of cleansing and intimacy – the outside world a space of misunderstanding and shame – a public bath is the ancient and often eroticized, criminalized space that exists between them. [With various exchanges of power, an element of the public bath experience is there in social media, in parties, anthologies, affinity groups, in hospitals, city beaches, toilets, hot springs, chat rooms and nightclubs, in live performances and spaces for exchanging fluids.])

(c) 2018 milk bone damp xerox