The opening of Wandrian uses each of the six dancers in the momentum of their own natural movement, articulated choreographically around each other and the space just as handfuls of pennies splatter onto the floor. The complexity of the movement is carefully juxtaposed to the softness of Charles Amirkhanian’s “Walking Tune”- a provocative violin and modulated vocal score.
This particular piece is a completely abstract work about the timeless intensity that people use to explore their actions, their landscapes and their timelines.
I am using images of found objects (tin cans, old cars, crumbled structures) that have been abandoned in nature and therefore, over-taken by roots, grasses, rust etc. I find the sincerity of the natural world, as it devours our man-made objects to be wildly inspiring.
This abandonment and the way that nature then cares for each object, I find to be directly co-related to the clarity that is gained through “cleaning out the closet of the ego” and the reorganization that the human consciousness undertakes with each new generation.
Each buried or discarded artifact has its own history, but when stumbled upon, could belong to any individual timeline or any combination community actions. So, the objects then merge different experiences and different personal events, similarly the way that each dancer’s actions and paths are crossed through a dance work.
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