Poetry emerges spontaneously and anonymously as a by product of physical connections, arising from the inventive and usually unfettered aspects of living - in which people recognize themselves as just one actor in a landscape of far broader and more complex forces than ourselves.
(Lopez, 2015, p.7)
(Lopez, 2015, p.7)
Poetry can be written with the body, consisting not only of words but with the interactions that occur between our relationships to real environmental forces and agencies outside ourselves.
I have collected artefacts from my engagement in walking practices that I've felt deserved recognition and that trace the ephemeral process of engaging in movement across the earth. These ‘entanglements’ present the importance of learning to listen, not singularly with the ears, but more importantly with the spirit and the heart.
Exploring the concept of ‘choreography as cartography’ (Sweeney, 2012) and relationality to the materiality of the world, I have developed a sculptural environment that mimics ‘dancerly’ movement gestures and non-linear journeys. The use of bells in my work are informed by their historical ritualistic associations, their sound has served to intercede between human and spiritual realms and have been utilised as a means of communicating over long distances, or to signal the significance of an event.
I hope the installation can become a conducive place to meditate on the idea of emotions as ‘bodily weather’ and invoke choreographer Deborah Hay’s notion of ‘delighting in the bodies resourcefulness by attending and sensing ourselves to the bodies inclinations’ (2000, p.110). I invite you to touch these sculptures and see what kind of ‘poetical events' occur for you.
I have collected artefacts from my engagement in walking practices that I've felt deserved recognition and that trace the ephemeral process of engaging in movement across the earth. These ‘entanglements’ present the importance of learning to listen, not singularly with the ears, but more importantly with the spirit and the heart.
Exploring the concept of ‘choreography as cartography’ (Sweeney, 2012) and relationality to the materiality of the world, I have developed a sculptural environment that mimics ‘dancerly’ movement gestures and non-linear journeys. The use of bells in my work are informed by their historical ritualistic associations, their sound has served to intercede between human and spiritual realms and have been utilised as a means of communicating over long distances, or to signal the significance of an event.
I hope the installation can become a conducive place to meditate on the idea of emotions as ‘bodily weather’ and invoke choreographer Deborah Hay’s notion of ‘delighting in the bodies resourcefulness by attending and sensing ourselves to the bodies inclinations’ (2000, p.110). I invite you to touch these sculptures and see what kind of ‘poetical events' occur for you.