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Durational


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Durational


Durational Work – Dissolving Binaries

In 2004-2006 I took my MA in Durational Performance and Time-Based Practices at Dartington College of Arts in Devon, England.  Between 2006 and 2012, I made solo work focusing on the female body in relationship to gesture, mythology, place, and time.

In the durational work from this period, I often set up a binary situation to begin with – Life & Death, Black & White, Circular & Linear – and through repetition of a specific action/gesture sequence I would move between these imagined/created binary points for long duration.

Repetition over long duration can become a moving meditation; while the mind-body focuses on a sequence of given gestures a deeper level of consciousness can be attained. I believe that there are layers of stories, wisdom, and a mythology housed in the body. This information can be mined and expressed through the moving body in performance.

This work is archived by:

Banner photo by Natalie Waldbaum.

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Flight Mother


Flight Mother


Flight Mother I

Date:

September, 2008.

Location:

Oswestry, Shropshire.

Rationale:

To explore the relationship between body and emotion and landscape. To express the process of grieving for the death of my mother.

Collaborator:

Photographs by Sean Eisenstein

Flight Mother II

Date:

November, 2008.

Location:

Location: Telegraph Hill Studio, London.

Rationale:

To make a dance of release.

Collaborators:

Costume Design by Fernando Mialski / Photographs by Clelia Rinaldi

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Black / White


Black / White


Black / White

Performance

Trinity Buoy Wharf, London, 2007.

Duration

12 hours

Rationale

To explore the dynamic relationship between base and pure, body and spirit, falling down and getting up.

Collaborators

Something Like Spit – Group Show
Photographs by Clelia Rinaldi

Description

The performance area is long and narrow. At one end there is a pool of black charcoal, at the other end hang bags of water. One end describes the world of animal, the other end describes the longing for flight innate within the spirit. The performer is painted. The top half of her body is white, the bottom half of her body is black. Markings appear over time on the floor – and upon her body. The vocabulary of movements is at first precise and repetitive. Then the division between black and white dissolves – and from that dissolving, something new emerges.

 
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Still / Desire


Still / Desire


Still / Desire

Performances

Dartington College of Arts, 2005.
Body Parts Festival, Edinburgh, 2007.
National Review of Live Art, 2009.

Duration

Original Work – 12 hours
Variations – 3 to 5 hours

 

Rationale

To explore bodily perception/phenomenology through repetitive actions, gestures, and contact of the female body with eggs and soil. To use long duration, and fatigue, as a way to uncover a deeper awareness in the body. To open to the possibility of transformation.

Description

The eggs, at one end of the performance space represent fertility/reproduction. The soil, at the other end of the performance space, represents death/rebirth. The action of the performance is of a constant cycle between the eggs and soil and back again. Traces are left on the ground and on the body to indicate the passage through time.