ijrkj – Creative & dance journal

Residuals #10 Light

In January 2025 – a year after starting the Residuals series, I used performance and long exposure photography to record light – its reflection from the surfaces of moving bodies, as a residual – including darkness and shadow too! Here are presented these ‘light graphs’ from the session at Goldsmiths CI at Goldsmiths, University of London on Saturday 18 January.

Residuals #9 Circle in the Hayslip

On 24 September 2024, I returned to Schumacher College, Dartington to harvest the potatoes from the crop trial which I started there in summer 2024. It was part of my Integrated Research Practice. After the performance, a circle of charcoal remained in the soil: an archaeological art work and residuals in my body as memory.

Residuals #8 Apple picking

The apple harvest of 2024 was one of the most prodigious I’ve known. Dancer Jo Dyer and I performed a dance to celebrate the apple harvest on 12 September 2024 . We picked apples using them as a movement and drawing construct. Not unlike the dancing/dance drawing with potatoes in Residuals #4, and Residuals #7 but now apples. (Pomme rather than pomme de terre!)

Residuals #7 Draw Potato Harvest

In 2024, I conducted a crop trial of potatoes and bio-char (charcoal) in my allotment garden in Oxford, UK. In September, it was time to harvest the potatoes and entact a performance: drawing the produce from the soil through dance and movement; and creating a drawing – a potato drawing. The performance was with the Unknown Performer – a person who prefers not to be named, from 19 August 2024 and other days in August/September 2024.

Residuals #6 Shadow Mirror

The Residual series #1 – #5, had all used charcoal on paper for mark-making, or as we might otherwise say, charcoal was used for marking the performance!

In Residuals #6 then shadow was the mark-making element. It was performed at OVADA, Osney Mead, Oxford on Tuesday 13 August 2024. The idea of a mirror dance is partly based on the notion that individuals in social relations naturally mirror each other resulting in symmetric patterns. It’s also such a simple dance that it hardly seems like a dance at all – which it is!

Residuals #5 Blocking & Exclusion

Like all of the residuals performances, Residuals #5 was co-created – but this time with an artist who prefers not to be named, and who I’ll address in this article as the Unknown Artist. The idea of blocking movement – which in the visual arts would be ‘masking’ – also has a social narrative too. This performance was at OVADA, Osney Mead, Oxford on Tuesday 6 August 2024.

Residuals #4 – Integrated Research Practice

On Sunday June 2, working with students and volunteers in their community garden at Schumacher College, Dartington, I combined planting potatoes for research into potato yields with the residuals practice of dance making and mark-making. I call this an ‘integrated research practice’ as the residuals practice is a research too.

Residuals #3 – Landscape

On 20 April, the third residuals performance was held outside in the gardens of Dartington Hall, Devon. The four artists including me, had worked together on the second residuals performance but the exterior setting for the third performance brought it into the landscape and closer to nature.

Residuals #1 – tints with paint

I further developed tinting the Residuals #1 charcoal drawings but now using watercolour paints instead of pencil colouring. It produced a temporary installation, research and thoughts of future work.

Residuals #2 – Dartington

On March 17 at the Shippon Artists Studios, Dartington Estate, Devon, there was the second residuals performance – Residuals #2. A co-created charcoal drawing was produced as well as a performance by its four artists – which included me.