3 Em[bed]ding circle

She’s only doing this: scores
3 Em[bed]ding circle

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Configuring charcoal, paper and body
Drawing is operating as choreographic activity of lining (intentional) and wiping (incidental).

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The task-based score: Work on the left side of the body, circling with sacrum leading backwards and forehead following knees. Staying in the centre of the rotating action, with hand behind head,  draw a line and continue to draw this line, drawing continually upon the previous line as it comes into view.

As the performing body rotates, lines are drawn with charcoal-in-hand, emerging as dark line on the light paper to be wiped away by the body’s torso. In duration and repetition of circling, lining and overlay[er]ing of line, a circle-ness becomes evident on the surface –  a temporal process of resurfacing.

Charcoal becomes increasingly embedded into the paper, broken shards of charcoal are scattered and lie over the surface and finer charcoal dust rises into the air. This peripheral debris and airborne dust extending the circle-ness, although nothing holds together as outline or sculptural shape.

Paper is both an interruption and continuation of the gallery or studio floor. Performing and spectating bodies share the same ground and horizontal pull of the ground.

The drawing remains remain relative to the actions producing them – visible and invisible – intentional and incidental – embedding presence, marking duration and scattering peripheral debris.

Nothing arrives or completes

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She leans her weight and presses down on the left upper arm – shoulder so other parts of the body can lift and slide. She continually configures her body around this imperfect point of rotation, pressing down on the sides of the feet as they step backwards in a circle. At the same time she works on softening the body to meet the smooth surface and opening the other right-side of her body to the space. She touches the paper, holds charcoal, feels pressure. Within these conditions she both accelerates and slows her circling. Slowing, stilling her body, she notices miniscule shifts and drops of weight and touch, sounds of breath and charcoal crushing.

She senses the isolated quiet space her actions are generating on the paper. She observes the quietness and low space she inhabits relative to the spectating bodies.

Spiralling to stand, she notices her spine gathering itself and rising through a vertical axis, her feet on the smooth paper and the charcoal drawing coming into view beneath her feet. She passes through upright and continues spiralling downwards to the surface – to continue rotating scoring lining overlaying resurfacing. 

Documentation in still images becomes an after-score; iterative rows and columns on the page-screen-surface, a writing of and after a live event.

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