to trace the origins of her madness, O’Neill channels her lifelong passion for archaeology into a creative practice based on excavation, analysis, and archive. using her invented symptom translation movement system, O’Neill pulls from Labanotation’s sign methodology, kinesthetics, and her lived experiences as a Mad child + woman to create videos and performances that articulate negotiations of visibility, the mental as physical, and the Gothic as crip metaphor. she queers space time through crafted environments of multimodal seating, projection, and layers of material, to elicit a spoken curation of fractured poetry, statistics, and memoir. O’Neill aims to capture the ephemeral peculiarities of Mad perception to critically destabilize the rapid, compulsory able-bodied/minded mythologizing of hidden disabilities.
O’Neill directs movement + lecture-based calls to action with disabled participants. as an extension to her solo practice, O’Neill facilitates her movement system as a tool for community building + radical hospitality. her most recent collaboration unbecoming hiding place (2019) was a mass reflection on “passing” shared amongst ten Chicago-based disabled performers (O’Neill included) who substituted choreographed movements as indicators of symptomatic impact. although she predominantly creates exclusively with crip performers, O’Neill hosts pop-up collaborative workshops in gallery, academic, + conference settings to engage participants of all abilities in choreographing emotions.