Gone Vol 1
hand-painted artist's book with redacted pages from Sophocles' Theban Plays, 2015
digital pdf version, 2016
Gone Vol 1 is a blend of hand-stamped original text, oil painting, and erasure poetry. The source texts are taken from Sophocles' Theban Plays: Oedipus Rex, Oedipus at Colonus, and Antigone. Each erasure poem is framed with lines from the longer original poem, and place the contemporary writing in conversation with classical tragedy. The relationship between Antigone (and/as the poetic voice of the text) and her family is often the focus, exploring thoughts about inherited violence, the desire for protection and revenge for one's blood relatives, the fascination with death survivor's guilt, and promises made, broken, and hoped for.
I am still developing a print edition of this artist's book, but it is currently available as a digital download.
Night Rooms is a collection of some of my favorite and most personal poetry, drawing on drafts from as early as 2003 and as recent as a few months before the 2015 release of this chapbook. It engages heavily with the body, with longing, with sex, with grief, with ghosts, with the call of the ocean. The cover image is by Briana Finegan. This text is available as both a physical chapbook and a digital download, both of which can be ordered below:
♏️ / ♐️
limited edition hand-bound chapbook - sold out
Scorpio/Sagittarius is a book of poems by Sid Branca and Dakota Loesch, filled with lies about each other. "Scorpio" by Sid Branca and "Sagittarius" by Dakota Loesch are bound together in a single hand-made book with a double-sided structure. Each book is written from the perspective of the other writer, full of mythical backstories and childhood bike rides. Each book is stitched, cut, glued, and painted by hand, and are bound in a few different colors. Every one is a unique handmade object.
Better is a short play originally commissioned by First Floor Theater for GrimmFest, a literary festival of short plays inspired by the works of the Brothers Grimm. An adaptation of Rumplestiltskin, the play was produced as a part of GrimmFest at the Charnel House in Chicago in 2013. The play was directed by Kellen Walker, and featured Amanda Fink and Fred Schmidt-Arenales. It was commended as “clever with a surprisingly poignant ending” by Chicago Now.
The festival was curated by Will Bishop, Andrew Cutler, and Hutch Pimentel, and included scenic/projection design by Claire Stone, illustration by Briana Finegan, and sound design by Bobby Huggins. You can learn more about the festival here.
I Am Saying This Right Now (2012)
a theatrical collaboration with the Plagiarists
I Am Saying This Right Now was a collaborative performance written by 13 artists, led by Kaitlin Byrd of the Plagiarists and including Sid Branca, Jeff Duhigg, Joshua Dumas, James Dunn, Paul Kastner, Brian Lucas, Layne Manzer, Sara McCarthy, Ian Miller, Lindsay Verstegen, Andrea Wallace, and Jessica Wright Buha. It was performed as a full production by The Plagiarists at Berger Park in Chicago, January 12th through February 11th, 2012. It was directed by Paul Kastner and Kim Miller, and the performers (picture above in a press photo by Lindsay Verstegen) included Sid Branca, Chad Brown, Ben Johnson, Dylan Marks, Sara McCarthy, Ken Miller, Kate Nawrocki, and Jessica Saxvik.
Inspired by the work of sound archivist Tony Schwartz, I Am Saying This Right Now was a performative collage exploring the human compulsion to document the lived experience. It made extensive use of sound art, along with traditional and experimental theater techniques, dance, site-specific performance art, and original musical compositions.
Little Ivory Fingers (2010)
This performance was written in 2010 in response to experiences with my family, both as a child and traveling with them in Europe as a young adult, and to Italo Calvino's Italian Folktales.
Little Ivory Fingers is a solo performance piece, largely composed of spoken text, but also contains sections of movement and audience participation. The piece was originated at the Neo-Futurarium, under the guidance of Chloe Johnston and Rachel Claff. It was performed in the Chicago Fringe Festival and the Abbie Hoffman Died For Our Sins Theater Festival.