Final Documentation

I began the second project with Erin Manning’s “Propositions for the Verge: William Forsythe’s Choreographic Objects”. My intention was to perform an action based exploration of the senses. The idea of “choreography as a means that sets the stage for an ecology of moment events” is what influenced and informed my work. In his theory of Choreographic objects, Forsythe prosposes that,

“when an object becomes the attractor for the event, it in-gathers the event toward the object’s dynamic capacity for reconfiguring spacetimes of composition. Forsythe’s choreographic objects tend to find one of their points of departure in the form of an everyday object: a balloon, a piece of cardboard, a castle. These “objects” are always part of an evolving ecosystem in Forsythe’s work. They extend beyond their objectness to become ecologies for complex environments that propose dynamic constellations of space, time and movement.
Choreographic objects activate an environment for movement experimentation.
The idea is to create an atmosphere that slightly tweaks the time of everyday
movement, inviting it to tend toward the time of the event.”

In this project, my intention was to
1- establish a relationship between human being and nature
2- experience the space in a different way
3- and somehow express the physical and emotional vulnerability of the human being and/or nature

The project evolved in a very organic manner. I began by thinking about the possible ways to establish, first of all, a personal relationship with the trees that could become a broader means of interaction with other visitors as well.

The island of trees are located beside a walking path, they are large and visible yet they are often times ignored. Music became my form of communication, acting, according to Forsythe, as a choreographic object. The voice of a cello, strong, mellow, lonely, coming from wood itself acts as a common language between the human being and the trees. It is also able to alter a common environment and allow other forms of interaction between visitors to the park and nature.

The photographic installation and the audio-visual piece are the result of the documentation of my work in the park. The pieces are independent (because they are so different) yet they dependent on each other to create a broader understanding of my creative process and the project itself. The visual components allow the viewer to imagine the place and the music creates the environment that allows them to imagine what that experience would be like in the park.

Through photography, I establish a visual setting of the place. I create a storyboard of the conversations and interactions that happened with the trees while the music was being played. It is a visual representation of time, place and memory. By repeating and overlaying of a single image, and placing them in a grid-free manner, I speak about the abstraction of time passing and memory. The placing of the photographs act as visible footprints of the visitors to the park, they also have reference to random thoughts and conversations that happend.

In the audiovisual piece, a self-powered speaker plays Suite for Solo Cello No. 1 in G Major, BWV 1007: III. Courante while a video shows my journey going up the 116 steps that take me to the trees. The video, as in the photographic installation, establishes the setting. It records my pilgrimage to get to the top of the hill to visit the trees. The purpose of this piece is to create the environment in the gallery space, that will allow the audience to connect and better understand the photographic installation and the process of the project itself.


Post-crit reflections

I thank all for your comments. Heather helped me have a better understanding about my approach to the everyday that I am trying to express. Tahireh suggested that I should increase the images in the photographic installation to 116 in reference to the steps, I will definitely do that. I also intend to go back and re-record the visual component of going up the steps, in 16 mm film (going back to the film quality that I like). I am very satisfied with the way my open-ended project evolved specially relying on Forsythe’s choreographic objects approach to transform everyday experiences with another ordinary object (or non object, like music).

Erin Manning “Propositions for the Verge – William Forsythe’s Choreographic
Inflexions No.2 “Nexus” (December 2008)

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