My name is Gedney, and I'm a writer and musician who lives and works in the Puget Sound. Currently, I write the blog and newsletter The Dumpster Diaries. I also write and perform music under my own name and with a couple of local bands. 


Over the past decade or so, I've made a lot of different things, from plays to videos to collages to songs. For about ten years I worked almost exclusively in performance. I was a director with a Philadelphia collective No Face Performance Group, with whom I got to make sardonic, delirious performances about paranoia, violence, and power. I performed in a number of projects, collaborating often with composers, musicians, and visual artists. At some point in those collaborations I got curious about other media, and expanded my work to include video, photography, and music. After a couple years of experimenting and exploring, writing and music called me home. 

My work in performance, video and photography tended towards abstract, heady, and a little enigmatic. I was fascinated by edges: the edge of control, the edge of knowledge, the edge of history, or the edge of the visible world. Now, I think a lot about the play between humor and forgiveness, and those moments when we feel we might do absolutely anything. I'm interested in hearing from the voices we try to tune out both in the world and in ourselves.The Dumpster Diaries are devoted almost entirely to those voices, so are my songs. I still have a soft spot for big ideas and abstract beauty, so I often return to those for inspiration, but I don't much go in for trying to create them myself. 

In my career I've been lucky enough to receive support from the Massachusetts Institute of Technology, Skidmore College, Joshua Tree National Park, Open Flight Studio, and CEC ArtsLink, and I've had the privilege of giving public talks at the MIT List Gallery and Pratt Institute in Brooklyn, NY.


"She wants to talk about everything while talking about one little part of it, encourage an experience of a now...poetry yelled into the expanse, wind whipping, the truth of a body curled back into a perfect hole in the rock at the end of the show. And this frame for an evening an excuse to bring people into a magical land to feel their own bodies, cool faced, sand in your shoes." 

–High Desert Test Sites 

"She speaks with a staggering exactness of tone. I had the sense I was entering into the genetic code of the English language…she entered truly into the sound of the language, approaching the point of mystery where sound transforms into sense through the alchemy of diction, or "Oratio" as it is called in Latin. Thank you for this beautiful moment." 

–Marcel Pérès, Director of Ensemble Organum 

“Transitions are practically danced. But yet within the score the whole thing retains a looseness. We get beauty and precision without any sacrifice of spontaneity or life. It's a balance many productions struggle with. In Twelfth Night Pig Iron makes it look effortless.” 

 –New York Theatre Review 


“a lovely and even magical night at the theatre. A combination of excellent design, wonderful Balkan-inspired music, and physically engaged actors has created a production that has a palpable energy.”  

–The Huffington Post

From the Swamp to the Stars...is sort of about the attempted assassination of Ronald Reagan, but more about cultural transition, media saturation and American hysteria. Directed by Gedney Barclay with a choreographer’s eye for movement, it’s a mélange of late-Cold-War miscellanea, vintage footage of the Gipper, musical interludes, outbursts of pop culture and surreal hallucinations.” 

 –Dotun Akintoye, Philadelphia City Paper