Phase 1 Research -----------------------------------------
Commuter Costume, 2019
Engraved Metal Spider with Tailored Suit Trousers.
Rough measurements are 200cm x 100cm.
A continuation of ‘The Crawl’ 2016 where performers crawled through the city streets like spiders in suits. Their bodies animalistic - moving together in a pack. The robotic movements of commuters at rush hour seems so structured and mechanical . Is the movement of our bodies together a natural instinct? or something created within modern society. Its body vs the city, Animal vs machine. The suit is the costume of the city - The symbol of time passing, the symbol of labour and movement.
Rush Hour, 2017
This Performance took place at The Crypt Gallery, Euston.
In Collaboration with Dancers: Chloe Walker, Beckie Callow and Sophie Alstead.
In the Factories the women would tap their steel toe boots to the sound of the machinery transferring rhythm from machine to body and body to machine.
The dancers tap through the space of The Crypt Gallery. The corridors mimic the underground tube tunnels focusing on the systematic, structured movements of the city. The dancers become more and more erratic, repeating routines and movements until they reach their final destination.
Coronation Street of Contemporary Dance, 2019
This Video acts as a concept for a live choreographed performance with a projection.
The Video is a Montage of moments from the first episode of Coronation Street to Current episodes. The Montage depicts a timeline of working class northern history from the 1960's till our current time through the eye of a TV screen. These moments will be turned into a chain of movements to create choreography for two dancers to perform live next to the video. The depiction of time within soaps is of interest to me and how we can witness these highs and lows of emotions of an entire street within a 30 minute time frame summing up some kind of human experience throughout time. The television screen acts as a window into those moments of time where fictional narratives are formed from real life experiences.
A Large Scale Print of the Yorkshire Moors, 2019
Professional Contemporary Dancer: Fay Rushton Ryan, Wind Sounds: Audience
The Scene is set with the audience instructed to make wind sounds as if sat on a peak of The Yorkshire Moors. As I begin to make up a song on the black keys of the piano (for the simple reason that it sounds better and is harder to make a mistake) a Professional Contemporary Dancer (who is not professional at all) begins to dance to the music.
Sometimes its about the idea of a moment rather than the physical moment itself.
When I was younger I remember collecting the take away menus that would fall through the letter box, sitting my teddy bears in a circle in a pop up tent in my bedroom and giving them each a paper plate with chicken nuggets cut out of brown card and chips cut out of yellow. To me I was for-filling my desire to run a real restaurant.
I find myself with a never ending list of ideas that have to be achieved to perfection for me to feel satisfied. The two main factors in not materialising ideas are time and money so when wanting to be productive I look back to childhood moments of making do.
This piece was about making do with what you have - reimagining work so it is able to be materialised even with no budget (something I like to call purposefully shit) - replacing something and trusting the creativity of others to imagine what could have been in its place.
A 2hr durational Performance at the Livesey Exchange
In Collaboration with Chloe Maugile, Peter Price and Carlotta Roma
Performers: Hattie Godfrey, Cat Williams, Georgia Kerr, Ella Turner Bridger, Fay Rushton Ryan, Stan Welch and Lee.
Photography: Annie Metzger