Monday, 18 June 2012
Monday, 19 March 2012
The Underscore
Working in a totally different way today felt so refreshing and available for my brain and body! There are so many layers to the Underscore I felt like I wanted more time to access them and really become involved with them.
The logical sequence of the delivery was very appealing to my way of moving and thinking.
I faced the challenges today of being aware of my comfort zones - either being very close to the floor or standing are most comfortable for me - the mid-levels I find more challenging to move through and this is where I tend to rush! I also felt like I wanted to work more independently today so when it came to the moment for contact or touch or confluence I would try to become absorbed by the other person's movement but would only stay in the group for a couple of minutes before going back out into the space to get back into my body, working on my own kinaesphere.
I very much enjoyed the concept of grazing, selectively choosing to be attracted to someone or something or to be repelled or to instigate contact, or to intersect another's movement...
What is Underscore?
The Underscore is a long score for jamming/composition/contact/improvisation. The Underscore guides us through a progression of “changing states” of body and mind—from solo sensitizing to gravity and support, into group circulation and Contact Improvisation engagements, opening out into whole room compositional awareness and interaction, and back to rest and reflection. Developed by Nancy Stark Smith the Underscore is a popular practice among contact dancers all around the world. “The Underscore is a framework for practicing and researching dance improvisation… It is a score that guides dancers through… “changing states” of mind and body…(which) can be seen as a vehicle for incorporating Contact Improvisation into a broader arena of improvisational practice; for developing greater ease dancing in spherical space—alone and with others; and for integrating kinesthetic and compositional concerns while improvising. The Underscore is also being used in the CI community worldwide as a way to focus and concentrate Contact jams.”
The logical sequence of the delivery was very appealing to my way of moving and thinking.
I faced the challenges today of being aware of my comfort zones - either being very close to the floor or standing are most comfortable for me - the mid-levels I find more challenging to move through and this is where I tend to rush! I also felt like I wanted to work more independently today so when it came to the moment for contact or touch or confluence I would try to become absorbed by the other person's movement but would only stay in the group for a couple of minutes before going back out into the space to get back into my body, working on my own kinaesphere.
I very much enjoyed the concept of grazing, selectively choosing to be attracted to someone or something or to be repelled or to instigate contact, or to intersect another's movement...
What is Underscore?
The Underscore is a long score for jamming/composition/contact/improvisation. The Underscore guides us through a progression of “changing states” of body and mind—from solo sensitizing to gravity and support, into group circulation and Contact Improvisation engagements, opening out into whole room compositional awareness and interaction, and back to rest and reflection. Developed by Nancy Stark Smith the Underscore is a popular practice among contact dancers all around the world. “The Underscore is a framework for practicing and researching dance improvisation… It is a score that guides dancers through… “changing states” of mind and body…(which) can be seen as a vehicle for incorporating Contact Improvisation into a broader arena of improvisational practice; for developing greater ease dancing in spherical space—alone and with others; and for integrating kinesthetic and compositional concerns while improvising. The Underscore is also being used in the CI community worldwide as a way to focus and concentrate Contact jams.”
—Nancy Stark Smith, from Caught Falling
Saturday, 17 March 2012
SRT class
Extract from journal: 22-02-12
Gliding...
supple feet through
the space
softening
through the
legs and
up into the hips,
ribs, shoulders, arms,
neck and skull.
Skull floating
Upper body
suspended
legs hanging
melting...
into the floor.
Gossamer threads
appear...
energy between the
fingertips
soft, supple motion
taking you in and
out of
the floor
Articulate bodies
and warm, soft
focus...
Real connection...
Gliding...
supple feet through
the space
softening
through the
legs and
up into the hips,
ribs, shoulders, arms,
neck and skull.
Skull floating
Upper body
suspended
legs hanging
melting...
into the floor.
Gossamer threads
appear...
energy between the
fingertips
soft, supple motion
taking you in and
out of
the floor
Articulate bodies
and warm, soft
focus...
Real connection...
Contact Improv with Charlie Morrissey
Though I was ill today and couldn't really engage with my movement as I would have liked, I found this class really fantastic to move through. I had a real softness today in my feet and legs.
Working with a partner allowed me to really find my centre as I couldn't just rely on the other person to support me. Sometimes of course 'mistakes' happen or something that we don't expect - but these moments are when we find a true connection to our movement and that of our partner, and when I needed my core and softness in the joints to keep me safe and allow me to either stay upright or melt to the floor...
Phrase Class
Extract from journal: 30-01-12
The window-like spaces in the spine can be opened and massaged not only from the back of the spine but also along the front face of the vertebrae - deep within the centre of the body...
Valleys of the joints of the legs can be softened and opened. Breathing into these spaces can help us...
The window-like spaces in the spine can be opened and massaged not only from the back of the spine but also along the front face of the vertebrae - deep within the centre of the body...
Valleys of the joints of the legs can be softened and opened. Breathing into these spaces can help us...
SRT class
Finding a connection with the breath... the skin... the contact with the floor beneath your feet... the skull floating... the legs hanging... the joints of the hips softening...
Balance and shift through the space, balance and shift through the space.
Really settled into an easy way of moving. Felt like I had grown and could balance forever!
Balance and shift through the space, balance and shift through the space.
Really settled into an easy way of moving. Felt like I had grown and could balance forever!
Journal entry
Experiential Anatomy - I find a real interest in this class, I am fascinated by the inner, complex workings of the body and the systems involved in helping us to move...
Improvisation
Extract from journal: 10-01-12
Moving with a partner... I became more fluid, grounded... I found myself drawn more to leading than following... I enjoyed the moments of accidental contact... I found the music a hindrance at first as it was quite slow... but began to pick up pace in my own body and really gained focus with a change of pace and travelling...
Moving with a partner... I became more fluid, grounded... I found myself drawn more to leading than following... I enjoyed the moments of accidental contact... I found the music a hindrance at first as it was quite slow... but began to pick up pace in my own body and really gained focus with a change of pace and travelling...
Phrase Class
Extract from journal: 09-01-12
Travelling across the space... collecting the colours of your movement each time you cross the space...
Travelling across the space... collecting the colours of your movement each time you cross the space...
Friday, 16 March 2012
Term 2 overview
I have been very excited by the turn my own practise has taken over the course of my second term. The main focus of my work has been my interdisciplinary practise. In preparation for my assessment module I have been researching a large range of artists from cross-disciplinary backgrounds, as well as visual artists. At the moment I am exploring the line of installation art - I am particularly inspired by the work of Cornelia Parker!
http://www.frithstreetgallery.com/artists/works/cornelia_parker
In my movement studies classes I have been continuing to develop my practise in the following areas:
A greater understanding of the use of the breath when moving.
Maintaining an awareness of the space and people around me, even while working with complex, personal, internal imagery.
Moving with an awareness of the back surfaces of the body as well as the front surfaces.
I am particularly enjoying the continuation of our Skinner Releasing classes. Even though it is a much softer, more calming class environment physically, it always gives me a huge range of images to work with and I enjoy the sense of build up with each class!!
http://www.frithstreetgallery.com/artists/works/cornelia_parker
In my movement studies classes I have been continuing to develop my practise in the following areas:
A greater understanding of the use of the breath when moving.
Maintaining an awareness of the space and people around me, even while working with complex, personal, internal imagery.
Moving with an awareness of the back surfaces of the body as well as the front surfaces.
I am particularly enjoying the continuation of our Skinner Releasing classes. Even though it is a much softer, more calming class environment physically, it always gives me a huge range of images to work with and I enjoy the sense of build up with each class!!
Starting to explore using pastels in my IPP investigations. Pastels have a lovely texture and organic feel to them that I really enjoy working with. They can crumble and turn to powder on the paper. They can be sharp and vibrant or soft and subtle. They can smudge and rub in and blend and blur...
Great for using on the feet to leave footprint traces across the paper!
I can perhaps begin to add layers to this work... using different materials, different colours...
IPP2 Questions
So when trying to finalise the direction I want my IPP2 exploration to take I needed to consider what I was truly inspired by and interested in. I have a keen interest in the visual arts, and in particular in installation art - I enjoy the idea of something being created in the space and left to remain long after the initial 'performance' has finished.
Is it durational?
Is there a beginning and an end?
Is something already in the space or do I make it during the performance?
Do the audience walk around the space?
Do the audience influence the piece? Can they interact with it?
What messages or images do I want to communicate?
Is it durational?
Is there a beginning and an end?
Is something already in the space or do I make it during the performance?
Do the audience walk around the space?
Do the audience influence the piece? Can they interact with it?
What messages or images do I want to communicate?
IPP2
Working with materials for IPP2 assessment! I really enjoyed working with paint - it created some wonderfully colourful and vibrant pieces of work that capture a lot of my movement within them.
IPP2
Developing a piece of work to be shown 6th March 2012
My inspirations:
Yves Klein
Angela White
With these pieces I love the dynamic and energetic qualities of the images, created with paint and movement. I would like to explore using paint and other mediums in my own work.
My inspirations:
Yves Klein
Angela White
With these pieces I love the dynamic and energetic qualities of the images, created with paint and movement. I would like to explore using paint and other mediums in my own work.
Sunday, 22 January 2012
Gabriele Reuter performance
Ellen Terry 19-01-12
'Inventory'
It initially felt slightly surreal to witness a performance by a professional artist with so much experience and understanding of performance in a space that I knew so well. This was a space that I primarily know a practice space, not a performance space.
When expected to write an essay on what I saw in this performance I find it very hard to do so without first getting my thoughts, impressions, feelings, moods down in my own way... so here we go.
Having done some rather brief research into the work of Gabby Reuter, I was able to go into the performance with a little prior knowledge and understanding of what might happen. Was this an advantage or a disadvantage? I'm not entirely sure. To have pre-conceptions is not always the most useful thing. But I shall move on.
At ease in the space and confident both in her movement and her words, Gabby walks onto stage very close to the audience and addresses everyone as if they are already acquaintances. Her comfortable manner and use of humour gives her the presence of a story-teller or a narrator. The audience feel safe in the knowledge that she knows exactly what will happen and when. Gabby proceeds to split the space into different 'pockets' of meaning, creating wonderful images for the audience to indulge in. The ratio between her movement and use of text is beautifully balanced throughout the piece. Her openness and candour is refreshing and captivating for an audience. I know myself that I didn't want it to end! And this, I think, is all I am going to tell you for now. The piece is still going round in my head. I believe, however, that it is safe to say I thoroughly enjoyed this performance...!
http://www.gabrielereuter.de/
'Inventory'
It initially felt slightly surreal to witness a performance by a professional artist with so much experience and understanding of performance in a space that I knew so well. This was a space that I primarily know a practice space, not a performance space.
When expected to write an essay on what I saw in this performance I find it very hard to do so without first getting my thoughts, impressions, feelings, moods down in my own way... so here we go.
Having done some rather brief research into the work of Gabby Reuter, I was able to go into the performance with a little prior knowledge and understanding of what might happen. Was this an advantage or a disadvantage? I'm not entirely sure. To have pre-conceptions is not always the most useful thing. But I shall move on.
At ease in the space and confident both in her movement and her words, Gabby walks onto stage very close to the audience and addresses everyone as if they are already acquaintances. Her comfortable manner and use of humour gives her the presence of a story-teller or a narrator. The audience feel safe in the knowledge that she knows exactly what will happen and when. Gabby proceeds to split the space into different 'pockets' of meaning, creating wonderful images for the audience to indulge in. The ratio between her movement and use of text is beautifully balanced throughout the piece. Her openness and candour is refreshing and captivating for an audience. I know myself that I didn't want it to end! And this, I think, is all I am going to tell you for now. The piece is still going round in my head. I believe, however, that it is safe to say I thoroughly enjoyed this performance...!
http://www.gabrielereuter.de/
Inspirations and interests...
Listening to a Crossing Borders talk by Miranda Tufnell and Eva Karczag, I was struck by their very similar work ethic and views on the importance on understanding the body. They also mentioned this film by Anna Halprin as something to see! The trailer certainly looks interesting!
http://www.independentdance.co.uk/what/exchanges/crossing-borders-talks.htm
Tuesday, 13 December 2011
Thursday, 8 December 2011
INFLUX - Performance Project
Working on always noticing the feedback from your visual field and allowing it to be refreshed.
Working on seeing the other people in the room in your visual field, choosing to see them practising what you are practising.
Working on always retaining the capacity to laugh at you own serious intentions, even while those intentions remain serious.
Working on keeping your awareness of all your cells gathered up with you as you travel.
Working on always noticing the feedback from your visual field and allowing it to be refreshed.
Working on seeing the other people in the room in your visual field, choosing to see them practising what you are practising.
Working on always retaining the capacity to laugh at you own serious intentions, even while those intentions remain serious.
Working on keeping your awareness of all your cells gathered up with you as you travel.
Objects
Light and Shadow
A moment frozen in time
Working with INFLUX
Some ideas from Performance Project:
http://www.youtube.com/watch?v=JZshZp-cxKg
We have been working with the quite complex idea of using the numbers 1 - 12 in any order to create movement. We then used the rhythm from the Sesame Street music to create emphasis and nuances within the movement. Great fun and an interesting idea, but very complicated to get in my brain!
Some ideas from Performance Project:
http://www.youtube.com/watch?v=JZshZp-cxKg
We have been working with the quite complex idea of using the numbers 1 - 12 in any order to create movement. We then used the rhythm from the Sesame Street music to create emphasis and nuances within the movement. Great fun and an interesting idea, but very complicated to get in my brain!
IPP2 Exploration
Reflective Writing on Exploration: Working with Materials
Sitting in the space, I am aware of two objects on the floor in front of me. One is a small, hand-held torch; the other is a length of soft, multi-coloured material. They offer to me the ideas of:
Practicality... function... texture... shape... structure... movement... light source... covering... exposing... folding... comfort... memory...
I do not know where to begin, so I simply start to move.
I began firstly to move with the soft, fluid cloth as this seemed more accessible to me. A lot of my initial images were focused around the properties of the material; how it folded and rippled when moved through the air, and the shapes it created on the floor when released. I tried to mimic this fluidity and folding in my own body, falling softly in and out of the floor and curling up next to the material in the space. I quickly became absorbed in this process and began to see it as more of an act of play with my object rather than an exploration of the material’s properties. The prevailing theme for me during this workshop was the idea of taking apart and bringing back together;
‘...in working creatively with materials or objects from disparate sources we partially (or wholly) let go of their usual significance and their normal place in the world, in order to discover new connections and meanings arising between them.’
M. Tufnell and C. Crickmay. (2004) A Widening Field. (Page 157).
This concept allowed me to really enjoy coming up with new possibilities and a fresh view on the mini sketches I was creating with my objects. One image that I particularly enjoyed working with was simply gathering up the material into a bundle and releasing it again on the floor, watching it expand out again. I developed this idea so that I gathered the cloth up into a bundle under my stomach when lying on the floor, so that it could not be seen. I then slowly began to pull the fabric out from underneath my body creating what I hoped was a collection of images ranging from an offering to the group of my internal thoughts and feelings, to perhaps the more base anatomical image of internal organs such as the intestines. Working with the torch I found more challenging. Perhaps from an aesthetic view point I was initially less drawn to this object. The idea of working with a light source however was fascinating for me and stimulated many images for movement, greatly inspired by our previous workshop explorations with artist Christian Kipp using light from a projector. Having seen an image of an installation piece by artist Cornelia Parker entitled ‘Cold Dark Matter: An Exploded View’ (1991), I am also keen to experiment with the idea of shadow and moments frozen in time. I began very simply with the torch, turning it on and off, rolling it across the floor, highlighting different parts of my body. I then started to explore more deeply with these images. In particular I enjoyed turning on the torch and pressing it to my skin. This created a beautiful amber patch of light around the torch as the light melted through the layers of my skin. Another moment I enjoyed real connection with was when rolling the torch along the floor I began to mimic this movement by rolling alongside it, following the light. This moment felt free, playful and child-like and I loved the symbolic moment as the torch gently came to rest and illuminated a part of my body as I came to rest in front of it. Although I briefly played with the idea of moving with both of my objects at once, I found it very hard to manipulte and move at the same time and the images I was creating with them did not feel as comfortable or personal. However, I did enjoy alternating between the two objects as, for example, the image of covering parts of my body with the material were juxtaposed with the image of using the torch to reveal and draw attention to my body. The opposite dynamics of my two objects informed and inspired my movement and were I to carry on this exploration I would like to develop this idea of switching between hard, rigid, tough objects and soft, malleable objects. I would also have liked to investigated the different components of my light source, taking it apart, seperating it and pulling it together again. I found working with these objects very complimentary to the way I move and think as an artist. Even though I was not working on my own in the space, I found myself becoming more and more involved in my own process and less available to the space and people around me. During previous experiences working with objects I experienced a desire to pre-plan and perhaps over-think what I could do with my object. In this experience however, I was able to lose my pre-conceptions about my object and simply allow it to inform my movement rather than my movement inform what I did with the object. This was an unfamiliar and exciting way of working for me and the movement material I discovered out of this fresh approach felt right and secure in my own body.
Sitting in the space, I am aware of two objects on the floor in front of me. One is a small, hand-held torch; the other is a length of soft, multi-coloured material. They offer to me the ideas of:
Practicality... function... texture... shape... structure... movement... light source... covering... exposing... folding... comfort... memory...
I do not know where to begin, so I simply start to move.
I began firstly to move with the soft, fluid cloth as this seemed more accessible to me. A lot of my initial images were focused around the properties of the material; how it folded and rippled when moved through the air, and the shapes it created on the floor when released. I tried to mimic this fluidity and folding in my own body, falling softly in and out of the floor and curling up next to the material in the space. I quickly became absorbed in this process and began to see it as more of an act of play with my object rather than an exploration of the material’s properties. The prevailing theme for me during this workshop was the idea of taking apart and bringing back together;
‘...in working creatively with materials or objects from disparate sources we partially (or wholly) let go of their usual significance and their normal place in the world, in order to discover new connections and meanings arising between them.’
M. Tufnell and C. Crickmay. (2004) A Widening Field. (Page 157).
This concept allowed me to really enjoy coming up with new possibilities and a fresh view on the mini sketches I was creating with my objects. One image that I particularly enjoyed working with was simply gathering up the material into a bundle and releasing it again on the floor, watching it expand out again. I developed this idea so that I gathered the cloth up into a bundle under my stomach when lying on the floor, so that it could not be seen. I then slowly began to pull the fabric out from underneath my body creating what I hoped was a collection of images ranging from an offering to the group of my internal thoughts and feelings, to perhaps the more base anatomical image of internal organs such as the intestines. Working with the torch I found more challenging. Perhaps from an aesthetic view point I was initially less drawn to this object. The idea of working with a light source however was fascinating for me and stimulated many images for movement, greatly inspired by our previous workshop explorations with artist Christian Kipp using light from a projector. Having seen an image of an installation piece by artist Cornelia Parker entitled ‘Cold Dark Matter: An Exploded View’ (1991), I am also keen to experiment with the idea of shadow and moments frozen in time. I began very simply with the torch, turning it on and off, rolling it across the floor, highlighting different parts of my body. I then started to explore more deeply with these images. In particular I enjoyed turning on the torch and pressing it to my skin. This created a beautiful amber patch of light around the torch as the light melted through the layers of my skin. Another moment I enjoyed real connection with was when rolling the torch along the floor I began to mimic this movement by rolling alongside it, following the light. This moment felt free, playful and child-like and I loved the symbolic moment as the torch gently came to rest and illuminated a part of my body as I came to rest in front of it. Although I briefly played with the idea of moving with both of my objects at once, I found it very hard to manipulte and move at the same time and the images I was creating with them did not feel as comfortable or personal. However, I did enjoy alternating between the two objects as, for example, the image of covering parts of my body with the material were juxtaposed with the image of using the torch to reveal and draw attention to my body. The opposite dynamics of my two objects informed and inspired my movement and were I to carry on this exploration I would like to develop this idea of switching between hard, rigid, tough objects and soft, malleable objects. I would also have liked to investigated the different components of my light source, taking it apart, seperating it and pulling it together again. I found working with these objects very complimentary to the way I move and think as an artist. Even though I was not working on my own in the space, I found myself becoming more and more involved in my own process and less available to the space and people around me. During previous experiences working with objects I experienced a desire to pre-plan and perhaps over-think what I could do with my object. In this experience however, I was able to lose my pre-conceptions about my object and simply allow it to inform my movement rather than my movement inform what I did with the object. This was an unfamiliar and exciting way of working for me and the movement material I discovered out of this fresh approach felt right and secure in my own body.
What Lights up?
What part of your body lights up for you and moves you through space?
What part of the space you are in lights up and draws you to it?
An image that helped me during this exercise was the idea of many strings attached to every part of my body. If one of the strings gets pulled then that part of the body follows bringing the rest of you with it! Where am I drawn to? How can I change this, challenge myself?
What part of your body lights up for you and moves you through space?
What part of the space you are in lights up and draws you to it?
An image that helped me during this exercise was the idea of many strings attached to every part of my body. If one of the strings gets pulled then that part of the body follows bringing the rest of you with it! Where am I drawn to? How can I change this, challenge myself?
Tuesday, 29 November 2011
IPP2
Over the past few weeks we have been experimenting with materials and different forms of light source.
Workshop with visual artist Christian Kipp;
I had a fantastic experience in this workshop! Working with the concepts of a moving light source and still images moving across the walls and over the body was captivating - I only wish it could have lasted longer! We initially started with the projector slowly moving the projected images over the walls around the space. At first we were very cautious of breaking the image by putting ourselves in front of it - we were enjoying these beautiful images too much! However, as we began to move in response to the images and came into contact with the light it became obvious to us that we could give a new quality to the image as it was projected on our own bodies. We played with the texture, structure, shapes as the image was moved across the wall, becoming distorted around the corners of the space, going in and out of focus as the projector moved close to and away from the wall. I found the stimulus of the textures of the projected image over our skin particularly interesting and inspiring for movement. This is definitely an exploration I would like to continue with in the future!
Workshop with visual artist Christian Kipp;
I had a fantastic experience in this workshop! Working with the concepts of a moving light source and still images moving across the walls and over the body was captivating - I only wish it could have lasted longer! We initially started with the projector slowly moving the projected images over the walls around the space. At first we were very cautious of breaking the image by putting ourselves in front of it - we were enjoying these beautiful images too much! However, as we began to move in response to the images and came into contact with the light it became obvious to us that we could give a new quality to the image as it was projected on our own bodies. We played with the texture, structure, shapes as the image was moved across the wall, becoming distorted around the corners of the space, going in and out of focus as the projector moved close to and away from the wall. I found the stimulus of the textures of the projected image over our skin particularly interesting and inspiring for movement. This is definitely an exploration I would like to continue with in the future!
Thursday, 10 November 2011
Some reviews...
So recently I've been to a few performances/exhibitions, either as part of my course or simply out of curiosity and a desire for inspiration!
As part of my IPP module, I went to see an exhibition at the Mead Gallery in Warwick Arts Centre. The exhibition consisted of three seperate artists work;
1) Mel Brimfield, 'This is Performance Art' - I found this work extremely confusing! Her theme was the idea of performance art and the relative difficulty and unreliabilty of documenting this art form. To achieve this she created works across different medias including film and pop culture, mimicking the work of previous artists. It was only after many discussions with collegues that I finally started to see the very complex issues surrounding her work - a very talented artist and very inspiring in terms of her multimedia approach to her work.
2) Dickinson and McCarthy, 'Greenwich Degree Zero' - This piece I found particularly fascinating. The concept of this piece was to take an event in history (an attempted but failed bomb plot on the Royal Observatory in 1894) and change this history using cleverly rendered newspaper cuttings, adapted film and photos and journal pieces to create an alternate reality. Working in this way is fascinating and thought-provoking and created work that was faultlessly believable!
3) Tom Hunter, 'Untold Stories' - This again was a rather complex exhibition of work for me to understand at first as it seemed to have so many layers to it. This piece was a series of photographic canvases, all paired together to show themes of topic or colour or atmosphere perhaps. The themes that I percieved in this work were those of nostalgia and connections to home as these photos were taken in and around the artist's home town. Antoher theme was of myths and legends, as the artist used the work of other artists who had captured the images of myths and mythical gods etc. The photographs themselves were wonderful to simply look at and enjoy for their movement, colour and atmosphere!
As part of my IPP module, I went to see an exhibition at the Mead Gallery in Warwick Arts Centre. The exhibition consisted of three seperate artists work;
1) Mel Brimfield, 'This is Performance Art' - I found this work extremely confusing! Her theme was the idea of performance art and the relative difficulty and unreliabilty of documenting this art form. To achieve this she created works across different medias including film and pop culture, mimicking the work of previous artists. It was only after many discussions with collegues that I finally started to see the very complex issues surrounding her work - a very talented artist and very inspiring in terms of her multimedia approach to her work.
2) Dickinson and McCarthy, 'Greenwich Degree Zero' - This piece I found particularly fascinating. The concept of this piece was to take an event in history (an attempted but failed bomb plot on the Royal Observatory in 1894) and change this history using cleverly rendered newspaper cuttings, adapted film and photos and journal pieces to create an alternate reality. Working in this way is fascinating and thought-provoking and created work that was faultlessly believable!
3) Tom Hunter, 'Untold Stories' - This again was a rather complex exhibition of work for me to understand at first as it seemed to have so many layers to it. This piece was a series of photographic canvases, all paired together to show themes of topic or colour or atmosphere perhaps. The themes that I percieved in this work were those of nostalgia and connections to home as these photos were taken in and around the artist's home town. Antoher theme was of myths and legends, as the artist used the work of other artists who had captured the images of myths and mythical gods etc. The photographs themselves were wonderful to simply look at and enjoy for their movement, colour and atmosphere!
Tuesday, 11 October 2011
Saturday, 8 October 2011
Sunday, 3 April 2011
IPP Presentation
How and why does a memory (or each telling of a specific memory) change over time?
How will you remember this moment in 5 minutes time? How about an hour? A week? A decade?
In what way is your memory of an event different to somebody else's memory of the same event?
How will you remember this moment in 5 minutes time? How about an hour? A week? A decade?
In what way is your memory of an event different to somebody else's memory of the same event?
IPP Presentation
Two key themes:
SITE
MEMORY
"To move the work is to destroy the work"(Serra, 1994)"To move the site-specific work is to re-place it, to make it something else"
(Nick Kaye, Site-specific art)
Presentation Evening
Memories written down for me by others and left in the space for me to find...
My ideas board!
SITE
MEMORY
"To move the work is to destroy the work"(Serra, 1994)"To move the site-specific work is to re-place it, to make it something else"
(Nick Kaye, Site-specific art)
Presentation Evening
Memories written down for me by others and left in the space for me to find...
My ideas board!
class notes
15-03-11
Warm up:
Surfaces of the body in contact with the floor. Walking round - see each other's eye colour!!
20 counts in and out of the floor.
Running and jumping - very warm - need to work on CV system! Taking a walk through the space, rolling down and taking weight on hands, jumping low through the space... found this VERY challenging! Need increased strength and stamina.
Warm up:
Surfaces of the body in contact with the floor. Walking round - see each other's eye colour!!
20 counts in and out of the floor.
Running and jumping - very warm - need to work on CV system! Taking a walk through the space, rolling down and taking weight on hands, jumping low through the space... found this VERY challenging! Need increased strength and stamina.
Improvisation Class
Polly Hudson 14-03-11
Free Writing - "As I walk..."
As I walk I notice I do not look out as I should but instead I look to the floor... why do I do this? Insecurity? Self-consciousness?
As I walk I notice others in the space walking around me... I notice how they walk and I wonder how I am different...I notice the speed of my walk and my breathing as it starts to quicken... As I walk, I notice the sound of my feet as they make contact with the floor, and I make a conscious effort to soften them to reduce the noise... I notice the texture, temperature of the floor and the casual swing of my arms by my sides.... As I walk I am aware how my movement is influenced by the choice of music... I find an awareness of the other people in the space and begin to biuld relationships with them... curling and un-curling...spiralling together...
Free Writing - "As I walk..."
As I walk I notice I do not look out as I should but instead I look to the floor... why do I do this? Insecurity? Self-consciousness?
As I walk I notice others in the space walking around me... I notice how they walk and I wonder how I am different...I notice the speed of my walk and my breathing as it starts to quicken... As I walk, I notice the sound of my feet as they make contact with the floor, and I make a conscious effort to soften them to reduce the noise... I notice the texture, temperature of the floor and the casual swing of my arms by my sides.... As I walk I am aware how my movement is influenced by the choice of music... I find an awareness of the other people in the space and begin to biuld relationships with them... curling and un-curling...spiralling together...
class notes
14-03-11
Movement Score: try to get every part of the foot, leg, pelvis, spine, arm, head in contact with the floor.
Found this a very physically inspirational stimulus and enjoyed trying to find new ways to make contact with the floor while warming up my body at the same time and effectively grounding myself ready for further movement. This exercise also prepared me mentally for class and I found it therefore easy to change routines from right to left side and move with confidence.
Movement Score: try to get every part of the foot, leg, pelvis, spine, arm, head in contact with the floor.
Found this a very physically inspirational stimulus and enjoyed trying to find new ways to make contact with the floor while warming up my body at the same time and effectively grounding myself ready for further movement. This exercise also prepared me mentally for class and I found it therefore easy to change routines from right to left side and move with confidence.
Energy...
What is energy?
a source of power..... a chemical reaction...... a presence.......... a force.......... a creation of something....... the ability to do work........ the ability to exert
Where do we gain energy from?
The sun - plants - nutrition - respiration to break down glucose - either stored as glycogen or utilised in the muscles as energy...
We need energy to function, to live...
a source of power..... a chemical reaction...... a presence.......... a force.......... a creation of something....... the ability to do work........ the ability to exert
Where do we gain energy from?
The sun - plants - nutrition - respiration to break down glucose - either stored as glycogen or utilised in the muscles as energy...
We need energy to function, to live...
class notes
heart beat increasing... breath coming faster and faster... pelvis to the floor - dropping my centre of gravity...using my knowledge - sails...spiralling...head-tail connection
Sails Routine Feedback:
Good fluidity and sails and head-tail connection shown throughout. Try to relax neck muscles in rolling moment but otherwise very well done.
Sails Routine Feedback:
Good fluidity and sails and head-tail connection shown throughout. Try to relax neck muscles in rolling moment but otherwise very well done.
Monday, 7 March 2011
Andrea'a Session
07/03/11
Feedback from partner work:
Routine:
Good fluidity, very good flat back in press up and downward dog positions, head could be slightly higher however...
Jumps!
Straight back and good line until turn-out position, knees are improving! Just be careful in parallel...
Feedback from partner work:
Routine:
Good fluidity, very good flat back in press up and downward dog positions, head could be slightly higher however...
Jumps!
Straight back and good line until turn-out position, knees are improving! Just be careful in parallel...
Hannah Starkey - "Twenty-Nine Pictures"
Warwick Arts Centre, 01/03/11
Some really beautiful, creative and inspring pieces of photographic artwork...
COLOUR
CHARACTERS
NARRATIVES
PLACES
PATTERNS
MIRRORS
REFLECTIONS
FEMALES
SHADOWS
Themes within Hannah Starkey's work:
absorbtion
stillness
women and female representation
quiet
relationships
Some really beautiful, creative and inspring pieces of photographic artwork...
COLOUR
CHARACTERS
NARRATIVES
PLACES
PATTERNS
MIRRORS
REFLECTIONS
FEMALES
SHADOWS
Themes within Hannah Starkey's work:
absorbtion
stillness
women and female representation
quiet
relationships
The 3 masses!
Session with Katye Coe, 01/03/11
Opening and folding in the hip joint, pelvis or head falling to the floor, sending the other to the sky...
Partner work (with Hannah G-M)
Move across the space while being aware of the 3 masses as well as SAILS!! Creating a short repeatble sequence of movement with this stimulus...
Feedback:
Dragging feet - wasn't aware I was doing this!
Where is your eye-line when moving across and around the space? Don't let it drop to the floor uneccessarily...
Opening and folding in the hip joint, pelvis or head falling to the floor, sending the other to the sky...
Partner work (with Hannah G-M)
Move across the space while being aware of the 3 masses as well as SAILS!! Creating a short repeatble sequence of movement with this stimulus...
Feedback:
Dragging feet - wasn't aware I was doing this!
Where is your eye-line when moving across and around the space? Don't let it drop to the floor uneccessarily...
Some thoughts and reflections for third year project rehearsals!
Chameleon Arts Company
Stimuli: dreams and what do you do when you can't sleep....
"Sometimes I awake only with the knowledge or the sense if you will that I was somewhere else last night... where, when, how, why and with who my head will no longer tell me...."
"I knew that I had had a dream last night... in the early hours of the morning... I remembered faces and people... I got up slowly and rubbed my eyes and began to move around my room... all of a sudden the faces had disappeared and I was left only with the memory of something forgotten..."
Stimuli: dreams and what do you do when you can't sleep....
"Sometimes I awake only with the knowledge or the sense if you will that I was somewhere else last night... where, when, how, why and with who my head will no longer tell me...."
"I knew that I had had a dream last night... in the early hours of the morning... I remembered faces and people... I got up slowly and rubbed my eyes and began to move around my room... all of a sudden the faces had disappeared and I was left only with the memory of something forgotten..."
Sunday, 27 February 2011
Need to work on:
I do still need to focus on getting my knees in alignment over my toes when in pliet... especially in parallel position...
Is this simply bad technique and a habit i've got into or is my physical build hindering me?
Does anyone know any methods for working on this problem?
(Notes from Journal)
I do still need to focus on getting my knees in alignment over my toes when in pliet... especially in parallel position...
Is this simply bad technique and a habit i've got into or is my physical build hindering me?
Does anyone know any methods for working on this problem?
(Notes from Journal)
Sails!
This was a very interesting class focusing on the front and back surfaces of the body and the volume/space in between...the three dimensional dancer!
SRT and Gossamer Threads
In our latest Skinner Releasing class with Florence, we explored the imagery of gossamer threads - a line of very fine, spider web-like material which can stretch and condense as you move, but if you move too rapidly or with too much force it breaks...
Through the use of this imagery we moved as if the line was attached to both middle fingers...
For me this introduced a whole new style of moving - I felt as if I was moving delicately but at the same time I was condensing and expanding... The imagery of the thread also gave me energy in my fingertips - I was using all of my body while I moved... a very enjoyable class!
Softness... fluidity... melting... breathe... expanding... condensing
Through the use of this imagery we moved as if the line was attached to both middle fingers...
For me this introduced a whole new style of moving - I felt as if I was moving delicately but at the same time I was condensing and expanding... The imagery of the thread also gave me energy in my fingertips - I was using all of my body while I moved... a very enjoyable class!
Softness... fluidity... melting... breathe... expanding... condensing
Sunday, 6 February 2011
Investigation with Paper Portraits
As a continuation of our work with paper portarits, I along with another student, Oana, wanted to explore different ways of creating scores with our work and using the paper to roll in...
We began by first going over our previous material stimulated by our portraits... We then explored movement on, underneath and around our 'movement portraits'... The most interesting moment in this exploration was lying underneath the paper and using the rips and tears in the paper to reveal parts of the body...
This section is intended to symbolise our own selves, our personality and our own movement interests...
We then moved on to investigate how it would feel to use someone else's portrait... looking at how they move and what areas of the body they are most fond of... we made contact with parts of the portrait to stimulate movement in the others body...
We also wanted to investigate the possibilities of doing the roll in paper as a duet... This made it difficult to roll and explore and we were very dependent on each other, responding to each others moments of stillness as well as the speed of the roll... I think this looked really effective especially when we both emerged from the paper.
This section is intended to symbolise us bringing together our two personalities, combining our movement, experiences and going on an adventure together...
Tearing off pieces of the paper we created a physical representation of our 'hearts'. These we then offered to each other as a symbol of friendship...
A really enjoyable and intriguing experience!!
We began by first going over our previous material stimulated by our portraits... We then explored movement on, underneath and around our 'movement portraits'... The most interesting moment in this exploration was lying underneath the paper and using the rips and tears in the paper to reveal parts of the body...
This section is intended to symbolise our own selves, our personality and our own movement interests...
We then moved on to investigate how it would feel to use someone else's portrait... looking at how they move and what areas of the body they are most fond of... we made contact with parts of the portrait to stimulate movement in the others body...
We also wanted to investigate the possibilities of doing the roll in paper as a duet... This made it difficult to roll and explore and we were very dependent on each other, responding to each others moments of stillness as well as the speed of the roll... I think this looked really effective especially when we both emerged from the paper.
This section is intended to symbolise us bringing together our two personalities, combining our movement, experiences and going on an adventure together...
Tearing off pieces of the paper we created a physical representation of our 'hearts'. These we then offered to each other as a symbol of friendship...
A really enjoyable and intriguing experience!!
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