“Attraction of the Fall”
How does virtuosity arise from imperfection? The Attraction of the Fall is based on art-experiments, influenced by John Cage's exploration of non-intention, Emmanuel Kant's philosophy of the sublime, and the Zen Buddhist principle of wabi-sabi. One art-experiment isolates blindspots in our perception to allow unseen elements to become the sole voluntary actor. Another experiment entails the performance of improvisational scores for archetypes of non-ideal bodies which are written to isolate physical results of complexes of the human psyche. These process-based works elaborate on a single concept in a multiplicity of contexts, through mark-making, object-making, and movement within the body itself.
* Always attempt the impossible * Accept imperfection, incapacity, depression, pain, and struggle. Appreciate it, revel in its uniqueness. Heal what you didn’t know was broken. * Foster the absurdity of the sublime and the pleasure of the absurd.
What are we missing with our two feet on the ground? The feeling of falling. The ground is too dense, it stops our natural motion. Where could it come from, the age-old idea that we came from the sky, from the stars? We feel out natural motion is to fall, so we deduce we must have come from above.
The artist on stage is making her personal cave of illusions, the place where she is most herself alone in her mind. Only there can she express who and what she is. And that is what we are all dying to see. Dying to see because the feeling is that only in death will you really see yourself for who and what you are.
“My fear of death is the same as everybody’s fear of death. But I make it a significant fear, a valuable fear, by admitting it even into pleasure. I welcome its contribution to ecstasy…” (Howard Barker, Death, the One, and the Art of Theater, 64).
archetypes of non-ideal bodies
What does it mean to share a perspective on reality, to question the reliability or truthfulness of perception, and to test the limits of our perceptive capabilities? One approach to understanding such a complex system is to observe what happens when it goes wrong. I am intrigued by complexes of the human psyche, by where the body stores information of memories and emotions, and by the effect society has on even our most primary, bodily modes of perception. My approach to these questions is varied, between organic association of images, sounds, and actions, or using a more logical abstraction to find simple underlying rules that can then be applied as a process of drawing, installation, or performance. I am intrigued by conflict within a single person, complexes of individual psyche, often expressed through the physical composition of the body, as the body is a container, where memeores and emotions are stored.