Having photographed the the co-created charcoal drawing Residuals #1, I introduced colour into these images by tinting them.Continue reading Residuals #1 Tints
The Residuals #1 performance on 15 January produced many photographs of the charcoal/carbon drawing – both as an artefact/ installation, or as marks on a surface. Here is a gallery of images about Residuals #1 as artefact.Continue reading Residuals #1: Artefact
The Residuals #1 performance on 15 January produced many opportunities for photography, particularly of the charcoal/carbon drawing – both as an artefact/ installation or as marks on a surface. Here is a gallery of images about Residuals #1 surface.Continue reading Residuals #1: Surface
Beside the dance and movement making of the Residuals #1 performance, it created a large charcoal drawing about 3 metres by 1.5 metres in size. There were also numerous photographs made by my co-creator John Hazel and me of its surface during and after the performance.Continue reading Residuals: drawings
I dived into the surface of the paper. Beneath me, carbon residuals (charcoal) assisted my passage as I slide across the white paper, parting the material and marking the paper. John Hazel who was co-creating the charcoal drawing with me, followed by stepping and drawing with his shod foot. The dance studio at the Old Fire Station, Oxford was our performance venue for this ‘drawing-dance’ on Tuesday 16 January 2024.Continue reading Residuals: performance #1
Dance & Movement Research 2024, Monday 15 January to Friday 19 January at the Old Fire Station Arts Centre, Oxford is a week of exploration in dance and movement for creative artists and dance artists organised by Oxford Contact Dance.
I started a new dance project in April. Initially, I held a stall at the jumble sale of the Oxfordshire Visual Arts Development Agency and their Osney Mead studio space in Oxford. Read more about the project.Continue reading Dance making + Mark marking = Residuals
Digital devices – ‘smart phones’, etc – and their infrastructure are machines for capture. Our jewelled-like devices capture us physically, psychologically and socially. The history of digitisation and machine capture is separation of being and body: disembodiment. A response – or riposte – are practices and human relations through embodiment including dance, movement and physical presence.Continue reading Manifesto for Embodiment: a riposte to machine capture
Dancer Georgica Pettus and I created movement sequences at the end of June which she set to music with ‘nonsense’ captioning. The result is ambiguous, comic and arresting. The strong graphic elements of the dance space – a dojo (martial arts hall for Aikido), combine with improvised dance practice, and leave us wondering and questioning.
Continue reading Dancing with Georgica Pettus
In April this year, I visited Aarhus, Denmark. One of the principle visitor attractions is the ARoS Aarhus Kunstmuseum – an art museum which has a circular walkway atop the building. Visitors can be seen walking in this circular structure as it has glass sides or walls creating a passageway. Hence, a circle dance is its product.Continue reading Circle dance