As a Ukrainian-British multidisciplinary artist, designer, and photographer, I am keenly interested in art therapy, somatic and transdisciplinary approaches, and neuroaesthetics. I am delighted to submit my work for consideration, as exploring the intersection of performance to the camera and photographic self-portraiture is close to my heart. Throughout my 25 years of artistic practice, I have used photographs of my body and hand gestures as photo references and participated in performances to communicate my inner feelings and reflect on the topic. I had been involved in Contact improvisation and Five Rhythms groups and workshops and ran authentic movement classes. These experiences let me explore the link between body awareness and psychological experiences and explore the human condition, liminality, identity and perception. After experiencing traumatic events, this exploration became even more relevant to me as it led to physical symptoms. During the war in my homeland, Ukrai...
Do you still feel that this work is only served in the integral form of full-length live performance. Your camera has caught the eyes -- your eyes? -- in close attention to the lens?
ReplyDeleteIn truth. Yes. The visceral nature of the live work takes it somewhere else. Even the full length video of the performance on YouTube does not capture the event properly. It was a one off. I couldn't persuade other venues of its merit. However, stills from the video do tell a different story, which may in itself be work pursuing.
ReplyDeleteI think that may be the point here. In general, the stills photo creates a crisis in the narrative of the performance which can transfer to a crisis in the narrative of the viewer. I notice this personally when I recognise that though I have been busy 'selling' one view of an idea, my client taken off with another. Can the customer always be right? Grrrh!
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