Katrina Brown is a UK/NL-based interdisciplinary choreographer working across performance, time-based installation, drawing score and digital and material page composition. She produces solo performance and collaborative works – often presenting in theatre, gallery and other spaces in which there is a wandering public.
This blog disseminates a choreographic view of drawing – developed in her recently submitted PhD thesis intersect/surface/body: A Choreographic View of Drawing in April 2017 (Falmouth University/UAL). It outlines a selection of performance events and research projects in which surface, material, force and body are configured to explore orientations of a moving body to the horizontal plane:
I implement drawing as a way of revealing political, material, graphic and sensual entanglements of working and moving on the floor. Drawing operates as score, live event, material process and residual evidence – allowed to unfold as choreographic activity rather than gestural expressive act – an activity that facilitates and brings to attention the gravitational forces and surface dimension of movement – drawing as a means to explore surfaces of paper, floor, skin and screen in their capacity to touch, support, make visible and distribute evidence.
As artistic research, a notion of intersect evolved as a space of lingering – a suspended space of judgement in which to observe the material and conceptual details unfolding in activities of moving and drawing and touching. In this space-time of lingering I was able notice and to describe what was occurring from different perspectives and proximities – to value making, noticing and describing as thinking.
She’s only doing this: scores is a series of large-scale drawing scores that work with task-based action and explore the notion of ‘score’ as action, performing event and residual remains. These scores are presented in different performance contexts. They work with constraints as a set of choreographic conditions that bring attention to processual details of making-unmaking, intention-accident, iteration, accumulation and duration. I have dedicated separate blog pages to three of the scores:
1 Unfolding spine 2 Parallel=lines 3 Em[bed]ding circle
Translucent surface/Quiet body is a research project developed in residency at the research centre L’Animal a L’Esquena Catalonia Spain and presented at seminars and on Artist pages. It operates as a live documenting installation – working with a large table-like construction, a moving-drawing body and the reciprocal touch between body-skin and paper-glass are viewed from beneath the contact surface. She reconfigured the documentation of these moving-drawing processes into the Artist Pages in Performance Research On An/Notations 20 (6) 2015. She is currently composing an online digital exhibition on and through the Research Catalogue, international database for artistic research.
Swim study is starting point and ongoing fascination in the elusive quality of the surface of the water from the perspective of a swimming body.
Katrina was freelance choreographer/teacher in the Netherlands for 23 years, producing work through DansWerkplaats and [Nes]theaters and completing her MA at Dance Unlimited, Theatre School Amsterdam in Choreography and New Media in 2006. The performance event Etsbeest is a collaboration with songwriter and artist Han Buhrs, for and with a pre-school audience has travelled throughout Europe to festivals and urban projects since 2008. She relocated to the UK in 2009 and is currently part-time Senior Lecturer Choreography at Falmouth University (previously Dartington College of Arts). She has collaborated since 2011 with choreographer Rosanna Irvine with work including the performance-installation what remains and is to come (ongoing), the artist book what remains and is to come: A Document (2014) and video installation surface/sphere commissioned by Independent Dance/Siobhan Davies Dance for the What Festival 2016.