Showing posts with label Artist. Show all posts
Showing posts with label Artist. Show all posts
15 Mar 2012
14 Mar 2012
Programme Notes
This piece explores the idea of stripping away and searching for what lies within. The idea of hidden identity is central to this work. I have noticed that I gain confidence by applying makeup and covering up ‘imperfections’.
This has made me question;
What is perfection?
Is everything a facade?
How can we find the truth?
Can stereotypes be broken?
I have been inspired by the work of the Performance Artists Franko B and Rachel Lachowicz who both use the body as a tool to leave traces. I am also interested in the Feminist ideas raised by the Guerrilla Girls and how they were masked and their real identities hidden while protesting.
This piece explores how the mask of makeup is used within entertainment, celebration, rituals, power struggles and is also used to hide behind.
By using water, makeup, cloth, paints and sheets, I have been able to explore these questions above in a way that cleanses, reveals and leaves a lasting mark.
Special thanks to Amy Voris, Fiona Jackson, Joana Tischkau and Oana Rotariu.
This has made me question;
What is perfection?
Is everything a facade?
How can we find the truth?
Can stereotypes be broken?
I have been inspired by the work of the Performance Artists Franko B and Rachel Lachowicz who both use the body as a tool to leave traces. I am also interested in the Feminist ideas raised by the Guerrilla Girls and how they were masked and their real identities hidden while protesting.
This piece explores how the mask of makeup is used within entertainment, celebration, rituals, power struggles and is also used to hide behind.
By using water, makeup, cloth, paints and sheets, I have been able to explore these questions above in a way that cleanses, reveals and leaves a lasting mark.
Special thanks to Amy Voris, Fiona Jackson, Joana Tischkau and Oana Rotariu.
15 Feb 2012
Gaby Reuter - Inventory
Gabriele Reuter performed this extended piece at Coventry University (19/01/12). She is a well-known dance artist who works in Germany and also the East Midlands. In this piece Gabriele explores space, time, philosophies and her own existence within performance.
This solo invites the audience into this exploration at the same time as concealing elements that are personal to the performer. At first Gabriele defines the different spaces around her, identifying places for text and spoken word, political and critical thinking, props, obvious things and an area for her height. She also describes a large, soft, round area for dance and an accompanying one for music. Her movements are linked with words to describe her thoughts and ideas as she journeys across the empty space.
This work embraces the Post-modern celebration of everyday movement used within dance. She uses the style of pedestrian movement and explores the sounds that her body makes on the floor. Within her ‘Clipping Space’ section, Gabriele incorporates chopping arm movements with straight hands. Movement is juxtaposed with stillness as seen when she stands still saying ‘something is happening in the other side of the space, that doesn’t involve me’.
‘Inventory’ engages the audience with the idea that movement and expression is a valid dance form and anybody is a dancer. Doors only she can see are opened and defined spaces painted in the audiences mind. Some of these spaces are described as personal to the performer. For example, Gabriele tells us about a small box up high with a lock and golden key. She keeps her thoughts and ‘genius’ ideas hidden away within the box, and only lets them out occasionally. This example also reveals the humour within the piece, alongside vulnerability and honesty.
Time is explored in relation to space. She uses her body to convey the image of a clock, and states that she can show us time passing. A series of repetitive arm movements leads to the thought of what happened previously in this space. She questions ‘What was in this space?’, ‘What is above this space’ and ‘Where was I when I wasn’t in this space’?
This piece centres around Gabriele’s relaxed, natural performance style where she is at one with the audience. Within the work she says ‘the space between performer and audience is not empty, but we cannot see it, it is invisible’. This allows aspects of the performance to have no barriers at the same time as leaving some doors closed or slightly ajar.
This solo invites the audience into this exploration at the same time as concealing elements that are personal to the performer. At first Gabriele defines the different spaces around her, identifying places for text and spoken word, political and critical thinking, props, obvious things and an area for her height. She also describes a large, soft, round area for dance and an accompanying one for music. Her movements are linked with words to describe her thoughts and ideas as she journeys across the empty space.
This work embraces the Post-modern celebration of everyday movement used within dance. She uses the style of pedestrian movement and explores the sounds that her body makes on the floor. Within her ‘Clipping Space’ section, Gabriele incorporates chopping arm movements with straight hands. Movement is juxtaposed with stillness as seen when she stands still saying ‘something is happening in the other side of the space, that doesn’t involve me’.
‘Inventory’ engages the audience with the idea that movement and expression is a valid dance form and anybody is a dancer. Doors only she can see are opened and defined spaces painted in the audiences mind. Some of these spaces are described as personal to the performer. For example, Gabriele tells us about a small box up high with a lock and golden key. She keeps her thoughts and ‘genius’ ideas hidden away within the box, and only lets them out occasionally. This example also reveals the humour within the piece, alongside vulnerability and honesty.
Time is explored in relation to space. She uses her body to convey the image of a clock, and states that she can show us time passing. A series of repetitive arm movements leads to the thought of what happened previously in this space. She questions ‘What was in this space?’, ‘What is above this space’ and ‘Where was I when I wasn’t in this space’?
This piece centres around Gabriele’s relaxed, natural performance style where she is at one with the audience. Within the work she says ‘the space between performer and audience is not empty, but we cannot see it, it is invisible’. This allows aspects of the performance to have no barriers at the same time as leaving some doors closed or slightly ajar.
15 Mar 2011
9 Mar 2011
Ideas forming ...
This entry has particularly helped by enabling me to reflect on the exploration and rehearsal process. When I look back at this entry it reminds me of how rehearsal processes are documented on the Siobhan Davies’ Replay Archive. By blogging the development from movement with paper to the idea of dance making with large netting, I have been able to channel my thoughts and creativity.
Annette Messager
Them and Us, Us and Them, 2000
photo taken from http://www.shift.jp.org/en/archives/2008/09/annette_messager_exhibition.html
photo taken from http://www.shift.jp.org/en/archives/2008/09/annette_messager_exhibition.html
5 Mar 2011
Trip to Warwick Arts Centre - Hannah Starkey 'Twenty-Nine Pictures'
As part of our Interdisciplinary Performance Practices sessions, we went to visit the Warwick Arts Centre and viewed Hannah Starkey's collection, titled 'Twenty-Nine Pictures'. She focuses on themes and issues such as class, race, gender and identity in her work. In this collection, all the photographs were of women. NARRATIVES, WOMEN, REFLECTIONS, MIRRORS, SEPERATION We were then fortunate to meet Hannah Starkey and listen to her work in her Artists Talk. She talked about how she observed people from a young age. Her mother ran a market stall and she used to help out. This is where her fascination with people began.
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