Bio

Having received a BA Hons in Performing Arts and Theatre Performance at The University of Chichester in 2016; furthered her studies by receiving a Masters in Critical and Cultural Theory: Philosophy at The University of Brighton in 2017 and now aiming to complete a PhD by the time she reaches 30 (tick tock!), Harriot's research dissects - ‘Zarathustra’s Discourses – Of The Three Metamorphoses’- within Friedrich Nietzsche’s Thus Spoke Zarathustra (1884), the chapters’ elucidation of the Nietzschean process of ‘Self Overcoming’ and how post-Nietzschean theory survives within feminism. Her performance research practice seeks to communicate a correlation between Nietzsche’s ‘Übermensch’ and disregard for the ‘Überfrau’, through performative responses to Luce Irigaray’s Marine Lover of Friedrich Nietzsche (1991) and Ariana Grande’s God is a Woman (2018); Through doing so, Nietzsche’s fear of water, his misogyny (whether that be inadvertent or decisive), and the relationship between the ‘feminine’ and ‘fluidity’ are examined metaphorically, philosophically, and through physical practice.

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Harriot's artistic practices tend to perform autobiographically in their form, overflowing with spoken or recorded word, tackling often debilitating issues lightly and comedically.