Forests and fields have become collaborators by providing a scenery for a creative process. There has been no time and no reason to question the functionality of the uneven, frozen and wet ground as a substitute for a silky, smooth, wooden floor. In fact, the ground has become a more intimate friend than any studio floor before. When working outside I need to generate movement continuously in order to stay warm. Unprecedented inner landscapes take form.
I go for long walks during the moment in the evening when it is going from light to dark. Patience to participate attentively in the slow, inevitable change generates a reassuring reminder of continuity. I just carry on. Images and visions arrive somehow out of the blue, unavoidably and tenderly.
In darkness the forest becomes more vocal. Birds sing louder and they fly closer so that you can often even feel them.
How can I reconnect dance to other art forms and practices. How can I find a link between my body and movement research, and other visual researches. I’ll use this time at home to produce new material and start developing new ways to share my artistic research. Reflecting about the connection between different practices and how I can put them together.
The symbol of Simplicity
One of the first inspirations towards my choreography.
Analysed and transformed into tools for improvisation and movement research.
As a colour it looks cold and embodies something sterile and clean, and on the other hand it sprays happiness.
Regarding the taste…it is sweet and refreshing but with high concentration it gets spicy.
These opposites are building a unity which helped me finding a precised but still experimental body language.
So what happens if you suck a peppermint?
in her humble home
keeping things whole.
image from the book of Kali by Seema Mohanty
In the picture: Lauri
Picture by: Alica and Claudia
audio: Lauren Fitzgerald, Plage des Corsaires, Anglet
painting: Adolph Hirémy-Hirschl, The Birth of Venus