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 – presenting in theatre, gallery and other spaces in which spectators are invited to roam.
This blog disseminates a series of drawing works that implement drawing as a choreographic activity. Developed in her PhD thesis intersect/surface/body: A Choreographic View of Drawing (Falmouth University/UAL 2017), it outlines a selection of performance events and research projects in which surface, material, force and body are configured to explore a low orientation of a moving body among materials in the horizontal plane of the floor.
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 as expression – 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 a starting point and ongoing fascination in the elusive quality of surface and the sensation of gravity’s impact in 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, 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.