Victoria is working in a critical area of practice with subtlety and skill. One of nine artists awarded an Artsadmin bursary from 300 applications last year, this is testament to the quality of her work and the integrity of her practice which runs through her making and performing.

Nikki Tomlinson, Lead Artists’ Advisor and Producer, Artsadmin, Toynbee Studios, London, UK (2017)

Victoria is an important artist making significant work around challenging and complex issues.

Lois Keidan, Co-founder and Director of Live Art Development Agency, London, UK (2017)

The actions she performs - making use of the minimum of materials and focussing mostly on the use of body matter - balance on the borderline of performance and sculpture. Victoria Gray's actions easily undergo photographic interpretation, blurring the line between live art and an artistic object.

Agnieska Szablikowska & Lucaz Trusewicz, Performance Curators, 8th Biennale of Photography, Poznan, Poland (2013)

In Ballast, Victoria performs a series of delicate movements, which transform the body into a living sculpture of successive shifts that reveal its limitations and monumental aspect.

Eirini Papakonstantinou, Performance Curator, State Museum of Contemporary Art, Thessaloniki, Greece (2015)

We witnessed something very precious in your action, which spoke to our bodies in a very real and visceral way. This is work I had to see and which I intuitively felt others needed to see […] it is still echoing here.

Michelle Lacombe, Curator, VIVA! Art Action, International Performance Art Festival, Montréal, Canada (2015)

I recognise Victoria Gray's action. When I looked at her, I had pain in my legs. I felt like I was the person. Can I say that, I am 9-years-old?

Lili-Gabrielle, Audience member, VIVA! Art Action, International Performance Art Festival, Montréal, Canada (2015)

Victoria Gray has developed a difficult-to-define, embodied thinking in her performance practice. Gray finds ways to go underneath appearances, connecting to a less appreciated level of existence. The ineffable aspect of such experiences is not only artistic, but spiritual and therapeutic. It is, for Gray, a political act to reconnect to these ways of sensing and making sense.

It is in the political context of feeling beyond the physical limitations of the body, and beyond the frame of art, that I sense, in Gray’s work, the possibility of a political/spiritual/feminist approach to re-doing our world.

Denys Blacker, Performance artist, Excerpt from Blacker’s PhD "Synchronicity and Consciousness in Improvisatory Performance Art Practice" (2018)

Victoria Gray began the second night of performances at VIVA with a powerful minimalist somatisation that held the two-hundred spectators that surrounded the performance area in rapt attention.

In the Atelier Jean-Brillant, it seemed as if we had been transported to a makeshift 19th century surgical amphitheatre. We sat, watching with great attention, the emanations of long held pain and trauma, as if we were the students of Charcot witnessing the discovery of the corporeal manifestations of hysteria. But, as we watched, the action also slowly undermined this position of spectator by communicating directly and intensely into the body, resonating with our own memories held in the flesh and in the blood.

Fortner Anderson, Critic, Excerpt from Fortner's review of Ballast titled "Heavy Duty Body Work," VIVA Art Action, International Performance Art Festival, Montréal, Canada (2015)