Johann Don Daniel & others

 I am writing in application to the Performance and self portrayal survey. I am writing also as 1 part of three people. JDD (me), Heini Marie King and Cyrus Hung. Below will explain the details of our performance, photography and themes. I am interested in the survey, its outcomes and how it can help develop the dialogue that has started between the three of us. The text below and image attached gives a basic outline as to what we are working on. 



HMK, CH and I are developing a dialogue. It involves us  performing Parallel Play Our performance requires us interpreting the sound of one another’s mark making and infrequent peripheral vision which we co-create into a dialogue with drawing and movement as the medium. Our conversation around freedom of movement, power of media and decolonising through dialogue started last year. One of the recordings of our performance is the mark made diptych as a form of dialogue. 

The name of the work, Parallel Play, refers to a stage in child developmental psychology where children play adjacent to each other but there’s no obvious interaction between them. 

Use of the body: 
The interpreters (artists) move at times in unison. As one follows the other by sound and some peripheral glimpses. At times they move on their own paths, catching up with one another again. The crouching, stretching, movement of the body is amplified literally through the sound and speed that varies. The leaders switch roles. The camera interplays, moving, crouching, distancing, observing. 
 [ ...
]
Relationship to the camera:
CH has been capturing aspects of our performance as his interpretation determines. This is an aspect of play that we have invited but do not directly interact with, continuing parallel play. The camera can be seen as a player as well as a recorder and also works in unison with his own performance.

CH was invited to our performative dialogue due to our understanding of ‘being aware’ of the camera. As he has taken on ’that’ role we are given more freedom to ‘ignore’ or furthermore concentrate without having to spend bandwidth detracting from ‘our’ focus.


The performative aspect:
We have our back to an audience. As one leads the other moves. The sound bridging communication. It can be interpreted that as the sound and dialogue based thoughts circulate, the interpreters (artists) make marks part determined by the factors. The camera moves in out and around. Playing with the space, vision and interpretation of the dialogue. Adding perhaps hidden meanings or emphasis. The performative result is sound, movement, marks, colour and what can appear as a trance like dance. 

I feel that the project that you have outlined very much ties in with our research project. If there is a way for us to collaborate with you in the future please feel free to get in touch. 

Comments

  1. AnonymousMarch 28, 2023 at 8:30 AM

    The inclusion of the photographer. moving from a reportage role into the animated space, begins to open up the question of who is in the whole space of the performance. The camera will affect the dynamic and [presumably] sonic environment which may have problems maintaining its original position as a driver of the other artists drawing interaction

    ReplyDelete
  2. ExploristMay 2, 2023 at 7:24 PM

    During life drawing session, when you are focusing on a fixed spot and not moving for periods of time, you become super-aware of the sounds of drawing, scratching, rubbing, scribbling. It might be interesting if the photographer could capture your movement but not the marks, or record the just sounds but not the output.

    ReplyDelete

Post a Comment

comments are now disabled for this dialogue

Popular posts from this blog

Demeter Dykes

Image
As a mature woman my work is the result of frustrations in relation to others’ expectations and misconceptions of me. Taking up space, unapologetically, has allowed a performative version of myself to emerge. I am interested in this commitment to performativity by mature women on social media sites. My images are made quickly and with materials and props that are to hand. The resulting photographs include filters and digitally drawn elements that build a persona, and my working process can be seen as a playground for the exploration of potential irreverent storytelling, both real and imagined. The swirling farrago of sensations that is menopause slaps you in the face, hard, and lets you know, unequivocally, that you are on a one-way street with no turning circle at the end of it. So, having less life ahead of me than there is behind compels my heels to dig into the earth so that the dizzying swiftness with which I am travelling along this one-way street, towards the exit from which th
Read more

Esther Sabetpour

Image
I am a London based photographer, artist and storyteller of Scotish - Iranian parentage. I explore transformation, through intuative self portraiture and embodied performance. I work with with notions of identity using environments which reflect my phycological, physical or emotional landscape. Using photo montage, moving image and performance in my self portrait process, which began in 1998. As a photographer and burns survivor, my self portrait process boosts my welbeing emotionally and physically. This liberating spiritual process enables me to embody and interpret potent feelings and themes I feel trapped, which I cannot seem to be express through words. Through the repetion (and recordings) of often slight, slow, intuitive movements, I begin to experince another relationship to my self and stories. The process enables me to tune in to my feelings and make contact with layers of trauma within my body. In 2017 I began a dance based embodied movement practice. This practice enabled m
Read more

Rachael Rutherford

Image
The interests within my practice at large lie with portrayals of the body and how we heal through and with them. This has often been framed within the female body and it’s mis/treatment within healthcare settings.Using textiles and sculptural techniques, the nature of performance and self-portrayal comes through in the form of costume creation. The costume allows for sculptural elements to overtake the human form and in the context of my own practice, takes the internal and visualises it on the external. Thinking through the work as a visual form and way of healing, textile coverings allow the self-portrayal to embody something beyond the human form, a monstrous re-imagining of the self. For me, the performative aspect comes through within the use of video as documentation of the wearing of the costume. The creatures created exist within these videos as a way to create a barrier between the self and the audience, while creating an intimacy between the costume and its wearer that gener
Read more