oneness - Le sacre du printemps
Oneness is a result of a research study I started in 2018 about Vaslav Nijinksy's Le Sacre du Printemps choreography, 1913, music by Igor Stravinsky, and set and costume design by Nicolas Roerich. It stages dialogues between Nijinsky’s “spiritual atmosphere” drawn on ballets’ sacred geometry and its symbolic meanings inherent in the costumes' plastic presence. A close examination of material culture that emphasizes how two - dimensional motifs on the costumes appeared as three - dimensional forms in dance’s atmosphere.
Every object in Nijinsky’s dance, the dancers’ gestures, has spatial and temporal meanings. My research considers how cosmology based on nomadic tribes' religious beliefs might at multiple scales move towards realizing complex and relational perspectives within and across movements, music, and design.
The symmetricity of the composition expresses the nomadic pastoral tribes desire for inner spiritual harmony within nature. It represents the silhouette of their religious belief “Tree of Life”as embodying a single organism. Only a single organism can create life within our spiral galaxy through a numerical system representing Earth, Air, Fire and Water. If we take three of each element, we receive twelve that all in all characterize three crosses and four elements. Four elements (seasons) in our temporal plane that appear as directions, (north, south, east, west) within our spatial plane. The handmade felt piece allows the audience to visibly view the mentioned four components within the shapes of one circle, two rectangles and two half circles individualizing man and woman as one. But requires an “atmospheric thinking” to view the invisible fifth elements that can only be viewed through the rim lights of the three-dimensional textured fins.
One is always, in the matter of the atmosphere itself, in the world, because the world exists as atmosphere. - Emanuele Coccia
Every object in Nijinsky’s dance, the dancers’ gestures, has spatial and temporal meanings. My research considers how cosmology based on nomadic tribes' religious beliefs might at multiple scales move towards realizing complex and relational perspectives within and across movements, music, and design.
The symmetricity of the composition expresses the nomadic pastoral tribes desire for inner spiritual harmony within nature. It represents the silhouette of their religious belief “Tree of Life”as embodying a single organism. Only a single organism can create life within our spiral galaxy through a numerical system representing Earth, Air, Fire and Water. If we take three of each element, we receive twelve that all in all characterize three crosses and four elements. Four elements (seasons) in our temporal plane that appear as directions, (north, south, east, west) within our spatial plane. The handmade felt piece allows the audience to visibly view the mentioned four components within the shapes of one circle, two rectangles and two half circles individualizing man and woman as one. But requires an “atmospheric thinking” to view the invisible fifth elements that can only be viewed through the rim lights of the three-dimensional textured fins.
One is always, in the matter of the atmosphere itself, in the world, because the world exists as atmosphere. - Emanuele Coccia
The faces of many- spectre de la rose
In the work - The Faces of Many, Spectre de la Rose - we can see as the massive power of the arms’ curving, tendril-like movements suggest an effeminate coyness. An androgynous character showing Vaslav Nijinsky’s sensual, and fragil personality by the masculine power in his legs and a feminine delicacy in his arms.Their lightness seems to be suspended in space. They are pivoted not lifted, supporting a complex plastic sense by lenting a feminine aura to the character. The piece deals with a heavily textured surface by showing how “costumes and motions can virtually reshape a human body”. The elementary materials creating a subconscious shell as wool, silk, bamboo and water transform into a sculpted, gestural dimension. Watching materials become creatures seems natural, and the actual human performing on stage during the projection seem to be there as if to enhance the naturalness of this parallel world.
Nijinsky's Jeux:"Movement in Stillness"
A practice based interprtation on the performance of "Jeux". A special purpose to turn the legend of ballet by Vaslav Nijinsky back into an artifact - to honor the master of modernism in choreography. A journey through FELT that translate the story; a journey that finds ritual rhythm within tangling wool; a journey that can induce on the physic states the nature of dance.
In his last notebook, Nijinsky touches on his relationship with the impresario Sergej Diaghilev, founder of Ballet russes. the diary is written in the form of unsent letters, contains one for diaghilev addressed simply to "man": don't think I don't listen. i am not yours. you are not mine. i like declining you. i like declining myself. i am yours. i am my own.
in this choreography for "Jeux" he responded to diaghilev's desire for them to have a threesome but used this opportunity to express his own identity and say his good bye to him. jeux was the first ballet to address modern sexuality and the first performed in modern dress. in this set of wall hanging we can see two woman and a man forming a mènage trois around a tennis court. the hint of jealousy and the desire are played out through the interaction of characters. edwardian walks, conversational gestures, and mothlike arms. my intention was to capture an Edwardian englishness to a fine degree recalling the luminous evening in pre-World war i london where the ballet was conceived.
In his last notebook, Nijinsky touches on his relationship with the impresario Sergej Diaghilev, founder of Ballet russes. the diary is written in the form of unsent letters, contains one for diaghilev addressed simply to "man": don't think I don't listen. i am not yours. you are not mine. i like declining you. i like declining myself. i am yours. i am my own.
in this choreography for "Jeux" he responded to diaghilev's desire for them to have a threesome but used this opportunity to express his own identity and say his good bye to him. jeux was the first ballet to address modern sexuality and the first performed in modern dress. in this set of wall hanging we can see two woman and a man forming a mènage trois around a tennis court. the hint of jealousy and the desire are played out through the interaction of characters. edwardian walks, conversational gestures, and mothlike arms. my intention was to capture an Edwardian englishness to a fine degree recalling the luminous evening in pre-World war i london where the ballet was conceived.
Nijinsky's Afternoon of a Faun "Movement and Metaphor"
A ballet with no dancing only movement in plastic attitude; staged by two-dimensional images that once evoked the art of Greek antiquity and stripped of its elevated spiritual associations of graphic sexual desire. My intention was to create a heavily textured surface to show the ballet's modernist representation of masculinity with a hint of transition to realism. Shaped the main character, The Faun in two-dimensional, classical contrast to style the "animal realism". Utilizing traditional Felt with lavish ornamental elements such as accented beads and sequin to broaden a dominant new style. On the opposite side the nymphs Hellenistic folds of drapery still provides a seamless transformation into the third dimension. Through harmony and rhythm that amplified wool and mixture of raw materials captures, a rhythmical observation manipulates the simplified gesture to an ideal fluidity. The narrative structure and separate framework makes you wonder if it's a solo or duet, reality or a fragement of a dream.
Nijinsk's Rite of Spring - "The Chosen One"
The inspiration for this wall hanging textile is the result of researching Nijinsky's "Rite of spring" choreography and studying a variety of cultures. We can see a young virgin maiden who represents the "chosen one" in Nijinsky's Le sacre de printemps ballet. a gestural elaboration that expresses Nijinsky's established principles of ordeal style.compact, inverted positions of head and arms while the body moves beneth is an irregular rhtym. The signature phrase of "sacrificial Dance".A single piece of handmade wool-felt with deep sculptural ribs washed into different forms to bring the "Chosen One" alive as if dancing again.Movement means more when we experience the other end of the spectrum - stillness.
Heavily textured surface design with sculpted density.
Give flowers because..."Every flower is a soul blossoming in nature." - Gerard de Nerval
a series, dedicated to find freedom,and fluidity within stillness through formal reductions.Each handmade pieces with coloration and pattering are interpretations of actual floras from the Mobile-Tensaw Delta. One of the largest intact wetland ecosystem in the South. capturing the realism of nature then manipulate it into the world of imagination.
a series, dedicated to find freedom,and fluidity within stillness through formal reductions.Each handmade pieces with coloration and pattering are interpretations of actual floras from the Mobile-Tensaw Delta. One of the largest intact wetland ecosystem in the South. capturing the realism of nature then manipulate it into the world of imagination.
Objects in Air |
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'There are sculptres which carry the enviroment in which they are imagined, or out of which they are raised, within themselves, they are absord it, and they radiate it.' - Rilke
A series of mimetic process that involves not only the representation of environment but draws attention towards a mesology of forms. Motions, dual dynamic concentration of wool and wood that claim a 'looking - out - of -the - picture' yet stay 'within' the image from the viewer point of view. as Laban once envisioned the unbounded dances in which movements mold not only the body but also its external and spatial envelope.
A series of mimetic process that involves not only the representation of environment but draws attention towards a mesology of forms. Motions, dual dynamic concentration of wool and wood that claim a 'looking - out - of -the - picture' yet stay 'within' the image from the viewer point of view. as Laban once envisioned the unbounded dances in which movements mold not only the body but also its external and spatial envelope.
Nature and Nurture
A wild, undomesticated condition of the beautiful Mobile - Tensaw Delta. Demonstrating deep respect for the interwoven narratives of materials and landscape, When wool and plant fibers are piled evenly, the different colored layers interweave seamlessly and bring the living materials to light.