Applied Live Art is a term to describe practices that include a hybrid of time-based media options, which include a social component as their primary focus. The practice and research outcomes offers place-keeping as central when working with both site and society.

Applied practice is often executed outside purpose-built institutions with the intention to benefit a target audience. This is an inter-disciplinary and hybrid practice that draws on a myriad of references to propel their outcomes.  The work relies on the pedagogical nature of applied work to support its definition and outcomes, emphasising the role of the facilitator within the group encounter. Applied practice in an applied setting is a dialogue between the practitioner and the participants, one where the creation of a work offers a platform for dialogue between the two.  Applied Live Art expands on the relationship between facilitator and participants by exploring the role of co-authorship, co-design, and co-production within arts practice. These socially based work shifts the spotlight from the artist as sole creator and primary subject to the participants and as an intervention technique within a social system.

With a focus on the processual development of performance making, we aggregate live art to applied in order to define the work itself as a series of artistic actions created collaboratively between and artist and participants. An extensive definition of live art is offered by The Live Art Development Agency: ‘Live Art is a research engine, driven by artists who are working across forms, contexts and spaces to open up new artistic models, new languages for the representation of ideas and new strategies for intervening in the public sphere.’ The intervention in the public sphere, is an example of how live art can be expanded from the explicit body of the artist into the body politic. The public/social sphere can function as an artistic medium for creative practitioners. The work then has the potential to be a place-maker for relations between those who engage with it. 

​A commitment to social engagement and site-specific work has led the studio to design and deliver a range of works such as outdoor performances, sound installations, audio walks, circus, and immersive theatre.



The term was coined by artist R.M. Sánchez-Camus, a creative practitioner who develops works of art in collaboration with community partners. They create site-responsive works that activate dialogue, interaction, visual impact and community cohesion. Their interests lay in neighbourhood narratives, hidden mythologies, psychogeography, and outdoor works.

Sanchez-Camus is a UK-based and settled, born in New York City to parents who emigrated from Chile. Their work explores interaction, public spectacles, social systems, the body politic and urban imagination. The practice can be understood in four layers that mutually compliment and inform each other: collaborative making, psychogeographic explorations, visual arts and social practice.

Sanchez-Camus co-founded Social Art Network in 2017 and has led various creative art collectives including: Coalition of Creative Artists (COCA) 1999-2002, Blank Collective 2002-2005, Lotos Collective 2006-2011. Partner organisations that have commissioned work include leading organisations with remits in public art and social practice such as Artangel, People United, and Freedom Festival.

Sanchez-Camus trained and earned a Bachelor’s in Fine Arts in 1999 from the School of Visual Arts, NYC and in 2006 was awarded a Master’s in Scenography from Central Saint Martins College of Art & Design in London and a completed a practice-based PhD in Performing Arts at Brunel University.

Read more about their work and the theories and practice driving the studio in the publication: ‘Applied Live Art: Co-authorship in Socially Engaged and Site-Responsive Performance Practice’

Founding Collaborations:

Co-founded Lotos Collective in 2006, current live art company producing events in the UK and abroad.

Co-founded Blank Collective in 2002, developing work in response to the  political climate in NYC following 911

Co-founded the Secret Garden Council in 2000, transforming an abandoned lot in NYC into a performing greenspace.

Artistic Associate of Coalition of Creative Artists launch in 1999, developing site-specific events in New York