Taking a philosophical journey, Matthew Lloyd suspends the artist as an impersonal subject. Whose relations to prohibition, incorporeality, and (non)being, become mise-en-scenes of a strange comedy, graceful isolations and ambiguous intermissions. Allegorical of a reality in motion of divorce, a performer without spectators. This vacant figure is caught in a play of a world disturbed from itself. Focused on the de-subjectivity of the artist through questioning the ethical measures of aesthetics, specifically the cinematic, Lloyd drags socio-political concerns on stage through a perverse philosophical and psychoanalytic frame. In which the plight of language, the violence of negation, and the politics of the voice, documented like elusive crime scenes, aim to hollow out artistic subjectivity, autonomy and disposition.