Bodies are my material. I approach them as a set of lines and manipulate them in order to offer an altered experience of time.
In my current practice, I use every day movements: standing, kneeling, sitting, lying prone and supine. These simple positions form simple lines that I sequence, layer, reorder, and reconfigure, ultimately creating complexity and multiplicity. I consider eyes, hair, and breath in as much detail as limbs. And I carefully calibrate the space and time around each gesture.
I work with duration and the progression of time. I craft along a strict time structure, like a grid. I see and feel each second passing, and carefully construct movement shifts second-by-second. Each moment is dramatically distinct from the one that came before and the one that comes after.
Paradoxically, this linear progression produces a variable relationship to it. I allow the viewers’ experience to undulate. They can let time slip, become plastic, elastic. As they watch, they glide through multiphasic states of consciousness in a quick succession. They can call upon the logics of both dream and waking states for navigation.
In this slippery in-between, the body at times seems no longer like a body. Ordinary movements are pulled from their usual context through highly specific work with movement quality, timing, and sequence. I render the familiar unfamiliar. In so doing, I refresh our experience of seeing. If we can see the potential for transformation in a form as familiar as the body, what else can we see with fresh eyes?