Process
In considering my approach to making, I find a large portion of it involves navigating the distance I take from my subject matter. I play with closeness to a topic that allows me to look at its finest details, but at the same time I step further back in order to observe links between the subject and other, less directly-connected disciplines. This shift from micro- to macro- focus enables a process marked by eclecticism. It is not important for me to use performance to replicate the methodologies I explore, but rather to work through my choreography to engage with approximations of these fields and to find alignments and connections that exist between them.
Since early 2018, I have pursued research on cartography and the construction of performative maps in order to build a greater understanding of place-making. This ongoing project began with a close examination of modern-day mapmaking practices. It then expanded to include archaic distinctions between geography and chorography, essentially separating the demarcation of space from the establishment of place. With this, I began to look further into disciplines that use predictive technologies to both estimate and determine destination or intent (e.g., stochastic calculus, Tarot, time theory, musical structure, etc.). I have also explored the nature of meaning-making through memory recall, anecdotal storytelling, and temporospatial linguistics. The overall focus of course has remained on cartography. However, working with both fine and broad spectrums of research has allowed the project to grow more robust in its development. Results of this effort can be found in my most recent works The Approach and the Square, The Twenty-Second Seventh, Passed Three, Round the Circumference, and Making P(l)aces.
The combination of seemingly unrelated and non-performative ideas can be a distinct challenge. I find it is easier to let my brain take firmer hold of ideas when my body is in motion, leaving both to craft their own logics. I engage with a practice of Perambulation, where I allow my body to move of its own accord while I discuss my ideas out loud. The ideas begin with a loose structure but are allowed to be tangential. This practice is often recorded, and results in helpful patterns of movement in addition to texts that begin to synthesize larger concepts.
An example of one such text can be found here.
-Perambulation-
I strive to approach movement generation from a perspective of simplicity. Inspired by the straightforwardness of Simone Forti as well as the locating practices of geographers, mathematicians, and the Situationists, I work toward articulating my ideas through algorithmic movement scores. Built from simple (and layered) instructions, the yield is always different but centered on principle. Some examples of these scores are my Forearm Score; Walking Score, No. 1; and Walking Score, No. 2.
-Scores-
Images: Effy Grey