Dance as exploration of mechanism experientially
To move is to feel and to be movement
By dancing am I doing a "useful" thing?
Why must the way I move be "functional"?
Surely to be focused on the "useful" and "functional" is limiting to any notions of (body) mechanics
The useful and the useless are together in the same room
I make a fire to keep warm
all night long
The poetic and fantastic is my preferred method of devising mechanical systems.
A niggling doubt
can be a starting point,
a place to depart from.
Here I become accustomed to the frustration of not knowing.
I dodge working rationally and functionally in favour of
digging in the dirt.
More like archeology than engineering.
A continued exploration of puppetry in design and performance feeds into my sculptural practise, providing a method for playful and experiential experimentation with objects and character.
Performance is intrinsically time-based, character is expressed through often subtle changes of movements through to stillness and back to movement.
Relationships are suggested through variations in the proximity between protagonists, in puppetry these are physically represented imaginary characters.
The physical techniques of puppet performance allow a viewer (and the puppeteer) to be convinced of an object character’s realness to such an extent that we feel an empathy towards them and the situation they are in.
Character and narrative have been devices for the preservation and communication of knowledge and wisdom throughout human history.
The puppet aspect of my creative practise can be found at www.foldedfeather.com
Most extraordinary of devices
What is this?
A solid thing
variation in all
knowledge here applied practically
sensed and felt
apparent complexity conceals fluid abbreviation towards a most simple interface
elegance of integration through many centuries of refinement
pipes open to space
a manufactured lung
a voice box simulation
resonance connecting deeply to a human
each takes makes
beyond the centre
from then becoming
strength in numbers
this is what it is
there is none other
there is no design
only there is becoming
a consistent status of being that and this
an other thing
These precarious bodies are less about system failure than the unleashing of flexible and dynamic structures open to change.
in a system
rather than that of fear- that balance will be lost unless the present status quo is maintained
that balance and authenticity are not lost ever
they merely shift so that a previously unknown and unfamiliar point of balance is illuminated
nothing is lost
a newly uncovered dynamic relationship is discovered
what is to be feared?
what is to be secured?
all is allowed the freedom to alter and change
Talking down dragonfly and butterfly prototypes exhibited for the week here at The Poly, Falmouth and couldn’t resist to reconnect with the life of Butterfly Prototype #5 (2016).
A presentation of prototypes within the same room as a collection of masterfully designed and fabricated performing puppets assembled and presented by the Curious School of Puppetry.
The Poly, Falmouth, Cornwall.
10-14 February 2020
The art pieces here presented are prototypes.
They are form and movement explorations along my creative way; indicating where I have been and functioning as a physical-dynamic point of departure.
Two separate journeys are presented in this selection of prototypes;
A butterfly journey (2014 - 2017) culminating in the creation of the piece Flight is a Waltz, in collaboration with artist Dominic Harris, and presented at the prestigious Design Basel/Miami Exhibition in 2017.
A dragonfly journey (2018-2019) resulting in the analogue, responsive
work Dragonfly-Imago, the focus of a solo exhibition at Circus Gallery, Marylebone, London in 2019.
Puppetry is an art form which naturally transgresses boundaries.
Puppetry exists/has existed in some form within all traditional and modern cultures throughout the world.
However simple, a puppet comes into being through an active observation of form, movement and rhythm.
The physical aspect of puppetry is in essence a poetic exploration of what is currently termed biomechanics.
The way in which a puppet is given movement by a person involves some form of interface, physical or remote.
I feel that through an intimate relationship between Art and Science we all have much to gain.