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                                            <image:caption>&lt;span style=&quot;--font-scale: 0.85;&quot;&gt;&lt;i&gt;Backyard at 313&lt;/i&gt;, Texas, 2019, Priya Thomas&lt;/span&gt;</image:caption>
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                                            <image:caption>&lt;span style=&quot;--font-scale: 0.85;&quot;&gt;&lt;i&gt;Backyard at 313&lt;/i&gt;, Texas, 2019, Priya Thomas&lt;/span&gt;</image:caption>
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                                            <image:caption>&lt;span style=&quot;--font-scale: 0.85;&quot;&gt;&lt;i&gt;Map of Valley of Red River in Texas, Oklahoma, and Arkansas&lt;/i&gt;, 1920.. Texas Reclamation Department; from topographic maps of the U.S. Geological Survey. Courtesy Hardin-Simmons University Library / The Portal to Texas History.&lt;/span&gt;</image:caption>
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                                            <image:caption>&lt;span style=&quot;--font-scale: 0.7;&quot;&gt;C&lt;i&gt;ollag&lt;/i&gt;&lt;/span&gt;&lt;span style=&quot;--font-scale: 0.7;&quot;&gt;&lt;i&gt;es for Last of the Rhinestone Cowboys&lt;/i&gt;, Toronto, c. 2023. Photograph: Silas Brennan. Early studies for &lt;i&gt;Cowboy Vespers&lt;/i&gt; (later &lt;i&gt;Pleasure Pier&lt;/i&gt;).&lt;/span&gt;</image:caption>
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                    <image:loc>https://freight.cargo.site/t/original/i/V3085751590785294092291590419859/postcard.jpg</image:loc>
                                            <image:caption>&lt;span style=&quot;--font-scale: 0.7;&quot;&gt;&lt;i&gt;P&lt;/i&gt;&lt;i&gt;aris — Grande Roue&lt;/i&gt;, c. 1900–1910. &lt;br /&gt;
Vintage postcard&lt;/span&gt;&lt;span style=&quot;--font-scale: 0.7;&quot;&gt;. Photographer/publisher unidentified.&lt;/span&gt;</image:caption>
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                    <image:loc>https://freight.cargo.site/t/original/i/Y3085765886126507501656034342291/tejas4.jpg</image:loc>
                                            <image:caption>&lt;span style=&quot;--font-scale: 0.7;&quot;&gt;&lt;i&gt;B&lt;/i&gt;&lt;i&gt;ackyard at 313&lt;/i&gt;, Texas, 2019, Priya Thomas&lt;/span&gt;</image:caption>
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                    <image:loc>https://freight.cargo.site/t/original/i/N3085791090521677965448822486419/redriver1.JPG</image:loc>
                                            <image:caption>&lt;span style=&quot;--font-scale: 0.7;&quot;&gt;&lt;i&gt;M&lt;/i&gt;&lt;i&gt;ap of V&lt;/i&gt;&lt;/span&gt;&lt;span style=&quot;--font-scale: 0.7;&quot;&gt;&lt;i&gt;alley of Red River in Texas, Oklahoma, and Arkansas&lt;/i&gt;, 1920.. Texas Reclamation Department; from topographic maps of the U.S. Geological Survey. Courtesy Hardin-Simmons University Library / The Portal to Texas History.&lt;/span&gt;</image:caption>
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                    <image:loc>https://freight.cargo.site/t/original/i/F3088257200190016369068321371539/PTcharcoal-copy.JPG</image:loc>
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                        <loc>https://priyathomas.com/left-page-8</loc>
            
            
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                    <image:loc>https://freight.cargo.site/t/original/i/N2267804724835935057610480101980/left.jpg</image:loc>
                                            <image:caption>Grace Labelle-Scott. as Psyche, &lt;i&gt;Metamorphoses&lt;/i&gt;, 2015.</image:caption>
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                    <image:loc>https://freight.cargo.site/t/original/i/U3086975971674475300876541064595/505436924_10237508394998947_4116641325479719526_n-copy.jpg</image:loc>
                                            <image:caption>&lt;span style=&quot;--font-scale: 0.85; line-height: 1;&quot;&gt;Talkback &lt;i&gt;The Foreigner&lt;/i&gt;, Theatre Aquarius, 2014&lt;/span&gt;</image:caption>
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                    <image:loc>https://freight.cargo.site/t/original/i/D3086977764513531824707862623635/IMG_6008.jpg</image:loc>
                                            <image:caption>&lt;span style=&quot;--font-scale: 0.85;&quot;&gt;Priya Thomas (left), Amani Hughes (rt), rehearsals for &lt;i&gt;Metamorphoses&lt;/i&gt;. Photo: Mike Griffin &lt;/span&gt;&lt;br /&gt;
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                    <image:loc>https://freight.cargo.site/t/original/i/Q3086995216314017174661102663059/Amani2.JPG</image:loc>
                                            <image:caption>&lt;span style=&quot;--font-scale: 0.85;&quot;&gt;Amani Hughes as Eros in &lt;i&gt;Metamorphoses, 2015&lt;/i&gt;&lt;/span&gt;&lt;i&gt;&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;/i&gt;</image:caption>
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                                            <image:caption>Grace Labelle-Scott. as Psyche, &lt;i&gt;Metamorphoses&lt;/i&gt;, 2015.</image:caption>
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                        <loc>https://priyathomas.com/right-page-9</loc>
            
            
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                                            <image:caption>&lt;span style=&quot;--font-scale: 0.85;&quot;&gt;&lt;i&gt;Metamorphoses&lt;/i&gt;, directed by Gyllian Raby; choreography for “Eros and Psyche,” Priya Thomas. Brock University, 2025. Photographs courtesy of the Department of Dramatic Arts, Brock University.&lt;/span&gt;</image:caption>
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                                            <image:caption>&lt;span style=&quot;--font-scale: 0.85;&quot;&gt;&lt;i&gt;Metamorphoses&lt;/i&gt;, directed by Gyllian Raby; choreography for “Eros and Psyche,” Priya Thomas. Brock University, 2025. Photographs courtesy of the Department of Dramatic Arts, Brock University.&lt;/span&gt;</image:caption>
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                                            <image:caption>Anand Rajaram, &lt;i&gt;Brick Lane Bargain&lt;/i&gt;, Red Beti Theatre,  Brock Summer Research Institute, 2014</image:caption>
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        </url>
            <url>
                        <loc>https://priyathomas.com/theatre-mobile</loc>
            
            
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                        <loc>https://priyathomas.com/left-page-17</loc>
            
            
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                    <image:loc>https://freight.cargo.site/t/original/i/N2267804724835935057610480101980/left.jpg</image:loc>
                                            <image:caption>&lt;span style=&quot;line-height: 1; --font-scale: 0.55;&quot;&gt;Grace Labelle-Scott as Psyche in Metamorphoses, 2015&lt;/span&gt;</image:caption>
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                    <image:loc>https://freight.cargo.site/t/original/i/D3086977764513531824707862623635/IMG_6008.jpg</image:loc>
                                            <image:caption>&lt;span style=&quot;line-height: 1;&quot;&gt;&lt;span style=&quot;--font-scale: 0.6;&quot;&gt;Amani Hughes, Priya Thomas.  Rehearsals for Met&lt;/span&gt;.&lt;/span&gt;</image:caption>
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                    <image:loc>https://freight.cargo.site/t/original/i/Q3086995216314017174661102663059/Amani2.JPG</image:loc>
                                            <image:caption> &lt;span style=&quot;--font-scale: 0.55;&quot;&gt;Amani Hughes &lt;span style=&quot;letter-spacing: 0px;&quot;&gt; as Eros  in Metamorphoses, 2015&lt;/span&gt;&lt;/span&gt;</image:caption>
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                    <image:loc>https://freight.cargo.site/t/original/i/S3086997014373502271352227329427/Graceseeds.JPG</image:loc>
                                            <image:caption>&lt;span style=&quot;line-height: 1; --font-scale: 0.55;&quot;&gt;Grace Labelle-Scott as Psyche in Metamorphoses, 2015&lt;/span&gt;</image:caption>
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                    <image:loc>https://freight.cargo.site/t/original/i/X3088773887145841012252999775635/505436924_10237508394998947_4116641325479719526_n-copy.jpg</image:loc>
                                            <image:caption>&lt;span style=&quot;--font-scale: 0.6;&quot;&gt;Talkback, &lt;i&gt;The Foreigner&lt;/i&gt;, Theatre Aquarius, 2013&lt;/span&gt;</image:caption>
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                        <loc>https://priyathomas.com/right-page-18</loc>
            
            
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                                            <image:caption>&lt;span style=&quot;line-height: 1; --font-scale: 0.6;&quot;&gt; &lt;span style=&quot;line-height: 1; --font-scale: 0.55;&quot;&gt;Grace Labelle-Scott as Psyche in Metamorphoses, 2015&lt;/span&gt;&lt;br /&gt;&lt;br /&gt;
&lt;br /&gt;

&lt;/span&gt;</image:caption>
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                    <image:loc>https://freight.cargo.site/t/original/i/Y3086983010251037553640474768787/BIL_2134.jpg</image:loc>
                                            <image:caption>&lt;span style=&quot;line-height: 1; --font-scale: 0.6;&quot;&gt; &lt;span style=&quot;line-height: 1; --font-scale: 0.55;&quot;&gt;Grace Labelle-Scott as Psyche in Metamorphoses, 2015&lt;/span&gt;&lt;br /&gt;&lt;br /&gt;
&lt;br /&gt;

&lt;/span&gt;</image:caption>
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                                            <image:caption>&lt;span style=&quot;--font-scale: 0.6;&quot;&gt;Anand Rajaram, rehearsals  &lt;i&gt;Brick Lane Bargain&lt;/i&gt;, 2014&lt;/span&gt;</image:caption>
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            <url>
                        <loc>https://priyathomas.com/research</loc>
            
            
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                    <image:loc>https://freight.cargo.site/t/original/i/R3086659682195720742491802138003/electric-9.JPG</image:loc>
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                    <image:loc>https://freight.cargo.site/t/original/i/X3086698597963527474225758696851/collages.jpg</image:loc>
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                        <loc>https://priyathomas.com/right-page-7</loc>
            
            
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                    <image:loc>https://freight.cargo.site/t/original/i/N2267799943126276502841638857308/234.jpg</image:loc>
                                            <image:caption>&lt;br /&gt;
&lt;br /&gt;
&lt;span style=&quot;--font-scale: 1.35;&quot;&gt;&lt;span style=&quot;--font-scale: 1.25; color: rgba(0, 0, 0, 0.75);&quot;&gt;&lt;i&gt;D&lt;/i&gt;&lt;i&gt;ramaturgies of Distance: Sound, Itinerancy, and Epistolary Performance&lt;/i&gt;&lt;/span&gt;&lt;br /&gt;
&lt;br /&gt;
&lt;span style=&quot;--font-scale: 1.18; line-height: 1.22; color: rgba(0, 0, 0, 0.75);&quot;&gt;Writings about letter-writing as a dramaturgy of delay, waiting, rerouting, and uncertain delivery. Moving between archival correspondence, contemporary installation, and recorded sound, it considers epistolary performance as a counter-archival form of intimacy across distance. Invited for presentation at &lt;u&gt;&lt;a href=&quot;https://www.psi-web.org/psi-conference-31/&quot; target=&quot;_blank&quot;&gt;PSI #31. &lt;/a&gt;&lt;i&gt;Archipelagic Flows, &lt;/i&gt;&lt;/u&gt;Jakarta. The project emerges alongside a forthcoming Blood Heron recording, &lt;a href=&quot;pleasure-pier-scroll&quot; rel=&quot;history&quot;&gt;&lt;i&gt;Pleasure Pier&lt;/i&gt;, &lt;/a&gt;with which it shares a conceptual terrain.&lt;/span&gt;&lt;/span&gt;</image:caption>
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                    <image:loc>https://freight.cargo.site/t/original/i/W3086743252384288328485256131987/IMG_4425.jpg</image:loc>
                                            <image:caption>&lt;br /&gt;
&lt;br /&gt;
&lt;span style=&quot;--font-scale: 1.35;&quot;&gt;&lt;span style=&quot;--font-scale: 1.25; color: rgba(0, 0, 0, 0.75);&quot;&gt;&lt;i&gt;D&lt;/i&gt;&lt;i&gt;ramaturgies of Distance: Sound, Itinerancy, and Epistolary Performance&lt;/i&gt;&lt;/span&gt;&lt;br /&gt;
&lt;br /&gt;
&lt;span style=&quot;--font-scale: 1.18; line-height: 1.22; color: rgba(0, 0, 0, 0.75);&quot;&gt;Writings about letter-writing as a dramaturgy of delay, waiting, rerouting, and uncertain delivery. Moving between archival correspondence, contemporary installation, and recorded sound, it considers epistolary performance as a counter-archival form of intimacy across distance. Invited for presentation at &lt;u&gt;&lt;a href=&quot;https://www.psi-web.org/psi-conference-31/&quot; target=&quot;_blank&quot;&gt;PSI #31. &lt;/a&gt;&lt;i&gt;Archipelagic Flows, &lt;/i&gt;&lt;/u&gt;Jakarta. The project emerges alongside a forthcoming Blood Heron recording, &lt;a href=&quot;pleasure-pier-scroll&quot; rel=&quot;history&quot;&gt;&lt;i&gt;Pleasure Pier&lt;/i&gt;, &lt;/a&gt;with which it shares a conceptual terrain.&lt;/span&gt;&lt;/span&gt;</image:caption>
                                    </image:image>
            
        </url>
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                        <loc>https://priyathomas.com/header-left-17</loc>
            
            
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                        <loc>https://priyathomas.com/left-page-14</loc>
            
            
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                    <image:loc>https://freight.cargo.site/t/original/i/N2267804724835935057610480101980/left.jpg</image:loc>
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                    <image:loc>https://freight.cargo.site/t/original/i/X3086698597963527474225758696851/collages.jpg</image:loc>
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                    <image:loc>https://freight.cargo.site/t/original/i/N2267799943126276502841638857308/234.jpg</image:loc>
                                            <image:caption>&lt;br /&gt;
&lt;span style=&quot;--font-scale: 0.9;&quot;&gt;&lt;b&gt;&lt;i&gt;D&lt;/i&gt;&lt;i&gt;ramaturgies of Distance: Sound, Itinerancy, and Epistolary Performance&lt;/i&gt;&lt;/b&gt;&lt;br /&gt;
&lt;br /&gt;An artist book about letter-writing as a dramaturgy of delay, waiting, rerouting, and uncertain delivery. Moving between archival correspondence, contemporary installation, and recorded sound, it considers epistolary performance as a counter-archival form of intimacy across distance. Invited for presentation at &lt;a href=&quot;https://www.psi-web.org/psi-conference-31/&quot; target=&quot;_blank&quot;&gt;PSI #31,&lt;/a&gt; &lt;i&gt;&lt;u&gt;Archipelagic Flows&lt;/u&gt;&lt;/i&gt;, Jakarta. The project emerges alongside a forthcoming Blood Heron recording, &lt;a href=&quot;pleasure-pier-mobile&quot; rel=&quot;history&quot;&gt;&lt;i&gt;Pleasure Pier&lt;/i&gt;, &lt;/a&gt;with which it shares a conceptual terrain.&lt;/span&gt;</image:caption>
                                    </image:image>
            
                
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                    <image:loc>https://freight.cargo.site/t/original/i/W3086743252384288328485256131987/IMG_4425.jpg</image:loc>
                                            <image:caption>&lt;br /&gt;
&lt;span style=&quot;--font-scale: 0.9;&quot;&gt;&lt;b&gt;&lt;i&gt;D&lt;/i&gt;&lt;i&gt;ramaturgies of Distance: Sound, Itinerancy, and Epistolary Performance&lt;/i&gt;&lt;/b&gt;&lt;br /&gt;
&lt;br /&gt;An artist book about letter-writing as a dramaturgy of delay, waiting, rerouting, and uncertain delivery. Moving between archival correspondence, contemporary installation, and recorded sound, it considers epistolary performance as a counter-archival form of intimacy across distance. Invited for presentation at &lt;a href=&quot;https://www.psi-web.org/psi-conference-31/&quot; target=&quot;_blank&quot;&gt;PSI #31,&lt;/a&gt; &lt;i&gt;&lt;u&gt;Archipelagic Flows&lt;/u&gt;&lt;/i&gt;, Jakarta. The project emerges alongside a forthcoming Blood Heron recording, &lt;a href=&quot;pleasure-pier-mobile&quot; rel=&quot;history&quot;&gt;&lt;i&gt;Pleasure Pier&lt;/i&gt;, &lt;/a&gt;with which it shares a conceptual terrain.&lt;/span&gt;</image:caption>
                                    </image:image>
            
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                        <loc>https://priyathomas.com/dance</loc>
            
            
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                                            <image:caption>&lt;span style=&quot;color: rgba(0, 0, 0, 0.75);&quot;&gt;&lt;span style=&quot;color: rgba(0, 0, 0, 0.73); --font-scale: 0.85;&quot;&gt;&lt;i&gt;Ghost Point Dragon&lt;/i&gt;. Choreographed with Rebecca Mendoza, 2015. Photograph by Chris Murphy&lt;/span&gt;&lt;br /&gt;
&lt;br /&gt;
&lt;/span&gt;</image:caption>
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                                            <image:caption>&lt;span style=&quot;--font-scale: 0.85;&quot;&gt;Priya Thomas, McGill University, 1991. Photographs: Ken Warmington.&lt;/span&gt;&lt;br /&gt;
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                                            <image:caption>&lt;span style=&quot;color: rgba(0, 0, 0, 0.6); --font-scale: 0.95;&quot;&gt;Priya Thomas, John Cale @ Lula Lounge, Toronto, 2008. Photograph by 

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                                            <image:caption>&lt;span style=&quot;color: rgba(0, 0, 0, 0.6); --font-scale: 0.45; line-height: 0.8;&quot;&gt;Priya Thomas, Toronto, 2008. &lt;br /&gt;
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