Questions that I frequently grapple with are ones that look at the moments where performance and privacy intersect. While I believe in sharing widely and absolutely love the potential of larger digital conversations and virtual worlds I repeatedly get stuck with habits of over-sharing and prompts imploring me to click & share.
Although I love dance and do dance, I hesitate before agreeing to go public and hesitate while considering comforts and privacy prior to facilitating a larger dance to be shared online that includes others. Concealment becomes a necessary and essential consideration when respecting privacy. In this dance, I edit exposure to include hands only. This narrowing of persona allows me to be in control of what feels like none of your darn business.
For dance anywhere, March 22 at noon Gesture narrows the motions of dance to hands alone captured in still and moving images. Participation is welcome. Bring your hands! Location: Berkeley Art Center.
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I am most comfortable when I can be public in a very private, controlled yet somewhat random way. While visiting my local art museum I appropriated the spaces between a film presentation to document some of my own doing. The exhibition SILENCE at Berkeley Art Museum (BAM) honors the body of work by John Cage. I have benefited from the respectful knowing that values silence and reflective moments while taking careful notice of the every day. These images are a composite of gestures plucked from my series Within Your Piece. The poetic shadow is a perfect vehicle to represent my personal comforts and fears. The gestural hands speak the words, tell the story, do the doing.
This creative work is entirely for my own entertainment and I acknowledge in my choice of location that I am an interloper.
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In this project I have developed a strategy of graphic representation that archives my history of accounts payable. Each invoice is charted on a roll of cash register tape. Each circle represents the passing of a day. Every 7 days the diamater of the circle is altered. When the invoice is paid the tape is removed from its tether and the # of weeks and # of days is notated at the top of the tape. The circles created the void in the register tapes have been stitched onto lengths of wax paper in rows each a collection of days over 90, days over 60 and days over 30. Draped over an iron towel racks they are left out to dry which is a reference to being marginalized by the reality of waiting patiently.
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I first saw bags of this sort being used at a construction site. Several dozen lined up street side were filled with a variety of landscaping materials. One day they started to be moved. Their handles were caught and carried by the arms of a forklift in an impressive industrial dance. Once emptied they were thrown into debris bins. I enlisted a friend to reclaim them for me to further experiment with. I utilized some in my garden for temporary screening and documented them in various ways which only increased my interest in them as compelling objects. I have since located the manufacturer and distributor of them – conveniently located in Sacramento. They are called bulk bags. They are also frequently used to transport legumes, grains and other bulk foodstuffs. In 2011 I purchased a dozen of them to be used multiple times in various site specific performances.
Dimensions: 36”x36”x60”. Portal diameter 26”. Material is loaded through a top gusseted portal and later emptied from the bottom. The top portal is large enough for an average sized adult to step into and pull up overhead while extending feet out through the bottom opening. Used on a rainy day they become a convenient temporary shelter. Similar to a burka they shroud the wearer and obscure their identity. I find the internal experience freeing and… mystical in ways I am still grappling with. Documenting the wearing from the exterior exposes a perfect paradox which I am entirely suited to: being seen without being known.
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