Sunday, 8 December 2013

sunday site sessions..

Today was hot here at Bundanon and although my body didn't feel like much like doing anything, I really want to investigate further and go somewhere new each day with my thoughts, my experiences and my dance.

10am in the studio and I had already stripped down to a crop top, and after some yoga and improv scores (smooth edges, which way is up and the music is..) my pants were next.

I had reviewed the footage from the my showing Friday eve and incorporating feedback from the other artists had decided to re-chore some of the movement but keep the structure of the scene Actually. The repetition of the text and movement seems to work but looking at he movements they get muffled, jolted and perhaps are a little to complex to escalate and speed up the way I would like it to.

Working quite systematically today I ticked that of the list and moved to the next thing, re-recording some audio of my relationship to a particular site - the Black Stump in Coolah, which is accompanied by layered dance/film of the site. It was tricky to record this as though the first time I was asked about it, but I'm fairly satisfied with the match of audio and vision for now.

After lunch I met with Greta and Matt and we headed down to Arthur Boyd's Bundanon Homestead and Studio for a sticky (its only open on Sundays). The beautiful double story sandstone house was full of Arthur's artwork as well as a significant collection of his ancestors art as well. There were works there that he had painted at age 13!! Amongst the collection was also a display of Sidney Nolan's work ascending the staircase (See pic below).

Outside I decided to do some site filming and writing on the front veranda and was also lucky enough to dance inside Arthur Boyd's studio - the volunteer ladies surprised, interested and smiley. It is such a beautiful art studio with many of Arthur's bits and bobs and some unfinished artworks. I was particularly taken with the rows and piles of tubes of paint on his desk, all finger splotched and smudged, an artwork in itself! It was great to be moving in response to the colours, my imagined actions of how he might paint as well as moving intuitively. I noticed I smiled a lot, and don't know why really, but I guess I was happy.

Returning from these adventures I began some editing of a site dance I did in Oslo this year at the spectacular Norwegian Opera House, which is an incredible structure not unlike a glacier sitting a the foot of the water adjacent to the city. I played with extracting still shots from the video footage and compiling a film, which repeated and overlayed getting denser and denser. A fun and tedious process, and still need to work on the timing and rhythm of this and what might accompany it - recorded or live text? chore or improv? or just the film?

Tonight I got back in the studio as it was beautifully cool, and responded to a film I compiled quickly from yesterdays site dance 'gate.fence.trough' and played with integrating writing from yesterday and my response to the image when I look at it today. This was a fun process as in improvising I could feed from the projected image and the text.

I did today become a little overwhelmed with how much material I am creating with not such a clear direction with where it all might fit. But at the moment I seem more than anything to be expanding my process vocabulary, still with a clear focus and awareness of what might resonate with audiences who have never been to these sites, giving them a visceral experience and bringing them into the sense of these environments.

Ok. enough. natter. for now. night.

 Arthur Boyd studio
Bundanon Homestead
Sidney Nolan pieces

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