Blog Post 3: 09.20.18 I’ve been thinking about temporal drag, as defined by Elizabeth Freeman in her essay “Packing History,” and what this could mean regarding older versions of a movement piece being the beginnings of a new one. I know this isn’t what the term originated to explain but it seems a helpful extension into an art practice as far as--- how do meanings of the same movement vocabulary change over time even in relatively short historical term. I tend to reject lineage or legacy in my own art projects, tending to approach each project as if it is a beta phase where I am just trying things out. While this mindset is usually freeing it also might be missing some due respect to material it uses as beginnings, perhaps from the perspective that looking backwards (at least somewhat) is a good way to move forward with more intention.

Erin Palovick and I (pictured above) are currently starting a new dance together that we are in the very early phases of, that has little to do with the projects we have made together before, but starts from some of the same ideas and movement vocabulary. By that I mean sitting on porches and almost starting to physically rehearse until we end up laughing for hours and taking walks and getting what we needed instead of what we set out to do. Some examples of our process when we made a video piece, Silent Like a Waterfall last year: we drove in a day to Florida, literally crashed an afternoon baby shower, got in a swimming pool fully clothed with shoes on, submerged a DSLR in a plastic bubble, accepted a free ride from a person driving a golf cart, ate donuts on a beach, wore fanny packs and let ourselves be tour guides with flashlights, like some fever-dream coming-of-age film we never would have found any other way.  Lately we even cancel rehearsals. Cancelling as a choreography of making space and trusting that the process and each other will be there. Cancelling because the capitalist drive of make make make more more more can be counterproductive to the work sometimes, and yes it even lives (perhaps especially lives) in dance spaces. 
Some early thoughts on this work : actually taking out the trash, making and performing dances only in lived-in spaces, longing as an ever-receeding location, folding, descriptions of a painting as the work itself. 


In the studio: Tuesday, July 3 2018 Over the weekend had the absolutely wonderful, *wonderful* opportunity of meeting and having a studio visit with Wanuri Kahiu, a brilliant and strong Kenyan filmmaker tackling difficult subjects with tenacity and j-o-y. Her work is extremely important and if you don’t know her I highly suggest you look up her incredible films, and listen to her talks, here.Some thoughts after her artist talk:
ºWanuri’s question “what would you travel to more than your own safety?” relating to many things including border politics, relationships, different types of safety being physical or psychological
ºjoy as a radical place
ºhopefulness, especially in times of struggle, *is* a struggle and requires diligence

Answers to a few questions posed about my studio practice, and some images of process: 
  • What materials do you use and why? How do you present or materialize your work?
  • ºIn general I sculpt in concrete, metal, and sometimes paper, silk, and other materials. I also work in many time-based media including sound composition, video, choreographic explorations of movement and performance. 
  • What does your process look like?
  • ºMy process varies wildly depending upon the work I am doing. This summer my process involves exploring one piece from several different media---- it was originally a performance captured on video, that I am now mining for stills to print on silk, and pulling out moments of video to project. My process is usually a lot more physical and material but right now involves a lot of digital editing as well. The project is called Life Saving and Water Safety, and I posted stills on my most recent blog entry (right below this one). 
  • What concepts are you currently exploring?
  • I am currently exploring ways of looking at communication, intimacy, and the dynamics of support as expressed in physical gestures of holding. This concept began with a book by the same name, Life Saving and Water Safety published in the 1950s, about techniques to save swimmers needing assitance in various open water scenarios. I found the images of this book to be unusually beautiful and moving and somehow seemed like little slices of a potential love story, complete with tension, uncertainty, and moments of freedom and assurance. I wanted to explore the found images in layered ways by recreating them in performance, and interating that into videos and onto fabrics, to see what that looked and felt like. 

 
In the studio: Tuesday, 26 June 2018

Lucky enough to have not one but two studio visits this weekend with the brilliant, bold, and downright true heart Morgan Bassichis. Please look up his work if you haven’t already seen it-- he is an important voice on many things including ///(in my words)//// collectivity, queerness, and political and personal landcapes of oppression/action/suppression/possibility.
While holding all that, his performances are completely hilarious, sometimes alternating cutting observation and raw tenderness, above all with an ease he uniquely creates. He came to School of the Art Institute of Chicago, gave a performance, and studio visits, all which left me flying with grateful considerations of//////////

ºhumor in nuance
ºhumor as vehicle to be with crises/trauma in new important ways ºblending practices/ navigating spaces/responses/different backgrounds ºinviting/allowing pleasure into an art practice, as a guide for performance ºdivorcing the idea of pleasing everyone/ this is impossible to work with/know
ºtiming
ºsimplicity/ silliness/ impulse
ºbreathing life into dead texts
ºcollective reading/singing as spells 
ºstaying close to source material, asking back to it for answers



I have begun a new project recently: working title is
Life Saving and Water Safety 
I printed out some stills from the project, large scale on transparent bond which is all new to me (working with photos, this scale, this paper). I tacked them up ‘round my studio and now I feel like I live there, which is lovely. I originally imagined the project as multi-channel video projections and/or performance. I might still work it through these iterations to see what it should become. More on all of this soon. 
I took this footage just before I left Atlanta to start the semester/////  Special thanks to two of my absolute favorite performers and humans
Jake Krakovsky and Hez Stalcup