SOLO PERFORMANCES

Then & there, here & now

Always Charming Performance Art Festival

Paris, 2025

Image Credit: Eva Dabara

A performance embodying the warrior-healer, inspired by shared histories of ancient healers in Ireland, France and the long suppression of women’s medical training in both countries. Created in dialogue with Hôtel Dieu, reputedly the world’s oldest continuously operating hospital (since 651 AD)

Then & there,here & now

Paris, 2025

The performance began at the hospital’s modern entrance, where I invited the audience to walk with me to its oldest, unused doorway.

Recalling Biddy Early, the Irish healer tried for witchcraft in 1865 and freed through local solidarity the work became a testament to communities of care, enacted through Celtic traditions of Imbas Forasnai as a channel to ancestors

Then & there,here & now

Paris, 2025

The dragging of the veil weighted with hag stones, drew on Celtic traditions of Imbas Forasnai as a channel to the ancestors. The performance became a testament to solidarity and the resilience of communities of care. The names of famous female healers long forgotten and key phrases were written in English, Irish and French were voiced

TA(i)L(e) of Fire

HANPAF Performance Festival,

Clare, 2025

Inspired by local Bean Feasa Biddy Early, tried and acquitted of witchcraft in 1865 with the support of her community. Drawing on the archetype of the wise healer and ritual of fire.

What do we need to do to create, feed and protect our fire?

TA(i)L(e) of Fire

HANPAF Performance Festival, Clare

2025

Image credit: Maryia Hoyin

Through ritual actions rooted in Imbas Forasnai, I co-created with natural materials gathered from sacred sites across Ireland and hand-made oil essences and salt dough. I co-created with each layer of my performance skin, a veil and cloak, orange apron/pouch and netted garment…to the elemental yellow core skin.

TA(i)L(e) of Fire

HANPAF Performance Festival,

Clare, 2025

Image credit: Mairya Hoyin

A visceral performance where audience were offered a smaller piece of the scented salt dough to engage with and add to the table of offerings.

Fan linn

Turas Ur Festival, Inishbofin Island, Donegal, 2025

Image credits: Jacqui Devenney Reid

Performing at the harbour of the deserted island of Inishbofin, I called across the sea. Drawing on the archetype of the warrior, I became a conduit for remembering past generations of islanders, those who endured harsh, isolated conditions and those who were ultimately forced to relocate to the mainland.

Fan linn

Turas Ur Festival, Inishbofin Island, Donegal, 2025

Image credits: Jacqui Devenney Reid

Through ritual actions rooted in Imbas Forasnai, I co-created with materials gathered from both the mainland and the island. Earth, ash, water, and salt were drawn, poured, and merged as I inscribed Ogham on my body and across the ground.

Fan linn

Turas Ur Festival, Inishbofin Island, Donegal, 2025

Image credits: Peter Hassett

I called out to the sea and to the audience, inviting them to remember, to write, and to shape their own ancestral line—reflecting the people, the place, and the moment of the

Threading time

May Arts Festival, Greywood Arts. Cork

2025

Image Credit: Cathal Noonan

Returning to my ancestral hometown of Killeagh Co. Cork, I drew on the archetype of earth mother to channel three generations of my matriarchal lineage as I co-created in the ancient Glenbower Woods

Threading time

May Arts Festival, Greywood Arts. Cork

2025

Image Credit: Cathal Noonan

Using my grandmother’s machine the word MOTHER was sewn in Ogham, ancient Celtic language, onto my mother’s coming-of-age confirmation photograph. Through ritual actions with locally gathered charcoal, water, and salt I remembered my ancestors.

Threading time

May Arts Festival, Greywood Arts. Cork

2025

Image Credit: Cathal Noonan

The audience were invited to also remember and write about their own ancestral lines on pieces of card, which were affixed to the metal bridge spanning the ancient river

I Am Diaphony

Tallaght University Hospital, Dublin

2025

Image credit: Stephen Doyle

I Am Diaphony

Tallaght University Hospital, Dublin

2025

Image credit: Stephen Doyle

Mossing

Moss at Catalyst Arts, Belfast, 2025

Photo credit: Gwen Stevenson

Mossing drew from my prolonged embodied research at a Neolithic site in the Dublin Mountains.

Engaging with a rock and branches encased in moss, which were temporarily transported from the mountain site, Hassett sought to explore perceived ‘boundaries’ where the outside/inside, rural/ urban, public and art gallery worlds meet

Creation Myths

Mart Gallery

September 21st 2024

Curated by Livestock

Image credit: Deej Fabyc

Engaging with mythical rituals, fallen twigs and the charcoaled remains of a man-made forest fire, Hassett sought to explore imaginings from a prehistorical past, connecting to a present, on into an unknown future…what have we created? What will survive the test of ‘human time’?

Lamella I

Supermarket, Stockholm, April 2024

Curated by Alannah Hopkin of Interface Gallery

Photo credit: Alannah Hopkin

Between the Lamellae was a series of four performance artwork that explored Skin as the ultimate manifestations of our individual realities.

Lamella I

Supermarket, Stockholm, April 2024

Curated by Alannah Hopkin of Interface Gallery

Photo credit: Alannah Hopkin

Engaging with brightly coloured man-made materials alongside reappropriated medical elements pushing and pulling her body across the constantly transforming boundaries and liminal space of human skin.

SOLO PERFORMANCES

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