Beginning
deciding against some kind of language for it
2018-2019:
Why unnamed? Maybe just un-languaged?
What do I mean by an “unnamed shape,” especially within a time-based process?
This:
Successive experiences gradually building a form.
or
A form that exists through layers of memory.
And also:
The shape that emerges over time somewhere between the viewer and the actions of the performers.
What happens internally when you recognize something as yet unlanguageable.
An object that is also a feeling.
Separate coordinate points that keep referencing each other to say where and what they are. (Like collaborations).
To move forward:
It feels important to let myself feel around in the dark a lot longer.
I want to move and watch dancers move, and derive forms, environments and objects from the information that arises. Cannot feel interested by “capital C” Concepts as the basis for making this.
Would like to get really comfortable with de-familiarization, non-singularity and coinciding interpretations of ideas and objects. Initially with the dancers, eventually with an audience.
A desire to create solid forms but not stasis.
Remembering:
How the Soft Body score created paths that audience members seemed to want to track and draw, judging by the sketches they contributed.
Trying to design the MSS/JPP set and being continually distracted/compelled by weird, less concrete, more malleable options that really didn’t fit their work.
Weerasethakul: “Dreams and memories, realism and surrealism, politics and mythology intertwine, not as opposites but rather as variations of the same phenomenon.” From writing about his solo exhibition ‘Luminous Shadows’ at Contemporary Art Centre, Vilnius, Lithuania.
Conversations with John K Wilson about time and layers an audience passes through.
Ralph Lemon’s associative, inter-referential weaving in How Can You Stay In The House All Day And Not Go Anywhere?
Moments and score from Soft Body performance, some collected shapes/images, last photo by Marco Modic
