›1990s

›Like a House on Fire 12/02/1999
›shelf life 12/1998 | De la Warr Pavilion, Bexhill-on-Sea, United Kingdom
shelf life is an installation of new technologies involving collaborations between established artists from digital art (Esther Rolinson), architecture (Stewart Dodd), sound design (Russell Scoones) and choreography (Carol Brown). In a gallery space, within which an outsized glass shelf suspends, a figure 
exists in a mutating digital environment. 
Her feet cannot touch the ground. 
She is a live-in artefact, hovering in time & space, at the threshold of growth and decay. shelf life lasts 4 hours each day. Gallery visitors come, stay and leave at their leisure. Comments from recent exhibitions included, "Mesmerizing - and original", "A real experience", and "A piece of depth and quality - I must see it again." shelf life premiered De La Warr Pavilion, Bexhill-on-Sea. Also performed at North Gallery Brighton University; Horsham Arts Centre; Surrey Institute of Art & Design, Farnham; Poole Arts Centre; Playhouse Theatre, Newcastle; St Pancras Churchyard, Spring Loaded Festival, London; Romaeuropa, Teatro Nazionale, Roma, Italy; Holsovice Brewery; 4 + 4 Days in Motion, International Theater Festival; Romaeuropa, Roma (20-22 October 2000); 4+4 Days in Motion International Theatre Festival, (9 Nov 2000); Contemporary Art Gallery, Zagreb; Contemporary Art Gallery, Vilnius Lithuania.
Her virtuosity is one that revels in the detail of execution... Subtle brilliance. —Dance Now Brown's meditative dance, isolated on her shelf, seemed an icon of contemplation, a little memento mori. It was the neatest justification of live art - life, simply, being turned into art. —Mackrell, J. (2000). A meditation on glazing. The Guardian. The audience who inhabit the installation are lulled and mesmerized, some sit or lie on the floor, some sleep caccooned from the outside world, guided towards the virtual world by this reassuring material body. —Leask, J. (1999, May). Shelf Life. Live Art Magazine.
Visual Art—Esther RolinsonChoreography—Carol BrownComposer—Russell ScoonesPerformer—Carol BrownCommissioned By—South East Dance Agency
›The Glory Box 25/02/98
›Ocean Skin 23/10/1997 | The Place Theatre, Surrey, United Kingdom
Between swimming and drowning is floating, a subliminal state. Drawing on images of death by drowning, this solo performed by Carol Brown uses fluid physicality, and an original sound score and video by Russell Scoones, to trace memories of oceans and the kiss of life. 
Quite oustanding dance - steeped in sensuality [...] Brown’s work has visual appeal and a depth of content that is almost subliminally transmitted. —The Evening Star An intensity of content and movement...communicated in richly woven texts. —Live Art Magazine
Music—Russell ScoonesCostume Design—Shanti FreedLighting—Philippa WickhamVideo—Carol BrownPerformer—Carol BrownCommissioned By—The University of Surrey
›flesh.txt 23/05/97 | Brighton International Festival, Brighton, United Kingdom
Predators or prey? Taking their cue from the girl power bands of the nineties, Lisa Torun and Carol Brown tell stories about divas, dogs and getting dirty. Explicit texts and  riveting movement are accompanied by the live vocals of Lisa Torun in songs by composer Russell Scoones.
 Girl Power with a darker edge.             —Live Art Magazine
Music—Russell ScoonesLighting—Michael MannionCostume Design—Shanti FreedPerformers—Carol Brown, Lisa TorunCommissioned By—South East Dance Agency
›Eve's Tattoo 23/10/96
Performed by three women their bodies marked markers marking the space with voice, motion and fury.Body Matters, University of Auckland; University of Surrey; Spring Loaded, The Place Theatre; DanceXchange, Birmingham.
Performers—Rita Marsalo, Carol Brown, Min Windle
The Anatomy of Reason/Mechanics of Fluids/Acts of Becoming formed a trilogy - The Mechanics of Fluids - a full-length solo by Carol Brown. Originally developed as part of her doctoral research at the University of Surrey, it premiered in 1995 and was subsequently performed at the Lilian Baylis Theatre, London, Melkveg Dance Festival, Amsterdam, Green Mill Festival Melbourne, Purcell Room London and toured throughout New Zealand with a Creative New Zealand grant.
A breathtaking and inspirational performance, which well deserved the standing ovation it received. —Otago Daily Times
›BLOODSONGS 28/01/94