"eyes be soft"
like the ends are seeing
struggle to see
Caroline comes to the space after Hadley. Beginning image, covered in dust and shaking it off our bodies into the space. We layer in arms as vectors of light that cut through imagined dust. Into "palms can't toch the floor" practice Caroline recalls the shape of tusks - protruding, elongated, continuously growing.
palms up / palms can't touch floor
cutting / searing space
groan / sign of relief
here / confirm
what is the kinesthetic feeling of freedom?
purple gray moth wings up close and black glass /
Hadley and I meet for less than an hour
Begin on the floor between sitting and laying, pull knees into chests
Palms up practice (i.e. palms that cannot touch the floor)
//// remember this so you know how to get back
the research of me revisiting my thesis work descend sky, digesting into solo form now with the eventual growth of a group work. I'm asking questions like...
What does it take to re-set a work?
What do I hold onto?
What do I let go of?
For most of November and December I will be asking these questions in a studio through dance and photography practices with
lea fulton marion spencer hadley smith caroline eskew alexis convento sara gurevich simon thomas-train marjorie gross tatyana tenenbaum emma judkins raha benham stephanie acosta laura bartczak emma lutz-higgins angie pittman zoe rabinowitz +++
The process of packing is procrastination at it's best, a succession of miniature refusals to:
A willingness to stay with "things" longer, to be thorough and fair to the time that has worn them into place.
Time to wash this stone.
Time to wear this dress.
Some of these things (most of these things) are photographs and magazine pages, the kind of images that, no matter when I printed them off or tore them out, are always already far from the moment at hand.
And so in the spirit of procrastination, I placed them together for scanning.
Union of time.
j e s s i e