It’s been a long time since I’ve written here. I can’t put everything into words. I wish I could focus on the artistic considerations more but am often struggling for headspace trying to vision ways forward, as the money has nearly run out and time is passing.
Life Forces has progressed considerably. After a week at Exeter University in December supported by Kaleider, a few days at Emmanuel Hall in January, a performance of a short excerpt of the work in a work in progress platform at Exeter Northcott on 23rd January, it’s now time to start contacting venues to try and ‘get the work out there’.
My head has been full with the task of administrating a plan, thinking strategically how to market this work, it’s clear we are straddling disciplines in a new and interesting way so imperative to find good and appropriate contexts for it.
I’ve been working with new collaborators performer/writer Phil Smith and sculptor/designer Sophia Clist as well as David Williams, these very rich meetings have been hugely stimulating for me and rewarding.
My heart is in this. I’m just overwhelmed at times with how to do it. I’m talking to a few producers to help me, this I hope will give the energetic boost to keep moving forwards. The territory is a rich combination of materials and relational meetings with Phil in the space. He’s had a big influence on the flowing of new thoughts and explorations and I’ve appreciated these prompts. After the studio sharing in July at The Place Theatre working with Gerard Bell who was a very gentle and thoughtful presence, I knew the work needed developing. It was too thin somehow, a kind of puzzle the audience needed to work out, underdeveloped, I knew it but I was stuck. The process of arriving at the studio on Monday 16th December to work with Phil for the first time alone, bringing everything I had so far and sharing that with him with him was useful, to see what was there and to see there was a lot. From this we built further, the thematic threads becoming clearer, deepening and becoming interdependent. The straws have become more straws that we draw and sculpt with, leading to long white pipes that we move with, then standing them all up to become an environment to move within and project Magali’s projections into. Additional objects of hammer, nails, wood, mirror, suit that we need to filter.
I’m conscious we need to maintain a balance between the intertwining of ideas and materials and the danced expression. Not to be too driven by tying things together, by overarching meanings needing to be explicit, making sure there is a sense of whole and cohesion where images can exist and ‘do’ something rather than inviting too many ‘whys’. I think, I hope we are nearly there. I must trust in that.
Phil Sophia and I will work again next week to share what we developed in January with David, the aim is to filter the ideas down. It’s very helpful for me to have a witness, we too easily get lost on our own in the explorations although very useful to have material to share and shape and work from.