Notes on Choreography / April 2018
Assuming a chosen identity or adorning oneself for the sake of play or disguise always leaves open the possibility of an unmasking. Being disarmed.
Theatre (painting) strives to present a narrative or experience for our consumption – and in so doing, enrich our understanding of our and others’ humanity. Is that less real than what is behind the curtain – what we are unable to see? Or is the artifice more real because it seeks to crystallize experience and offer it in a concentrated way?
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Pattern exists in both the natural and manmade world to distinguish or camouflage the wearer as needed. The imperfect nature of handmade pattern holds the viewer in a space of consciously observing a set of human decisions and human marks. Breakdown signifies a clash between human and her relationship to the natural world. Nothing more than a futile attempt to impose control.
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Archways, mountains, and open mouths settle into black theatres full of imagery of death and domesticity. Tick marks denote the passage of time as puffy clouds and fat raindrops are muddled with charcoal. Paint slides down surfaces, shattering any illusion of dimension. Forms are orchestrated and stacked clumsily, so that they seem to invite the curtain to be pulled back and the artifice of balance to fall apart. But it opens just enough to show you what was choreographed to be seen. Give or take.