Showing posts with label performance. Show all posts
Showing posts with label performance. Show all posts

Tuesday, 8 May 2012

PW12 at the Arnolfini

"Dw i'n Crwydro byd...." has had a new outing. A text created as a response to its showing in Falmouth has been added.

It was shown in the Lightroom at the Arnolfini for the Performance Writing weekend. The placing next to  Emilie O'Brian's "I'm doing this now" was thoughtful, connections of textile, body, making.













Follow this link for more information on "Dw i'n crwydro..."
A link to its showing at Contexture in Falmouth

a duel, duet, dual performance.
A reading and echoing of an erasure version of Pride & Prejudice [a link to a link for more information on the text] based on movement and space. One reads the other repeats until they can't continue, roles are swapped. Sometimes you hear the cry of mercy - that means stop and swap. A lot of laughter.
Performed with sonic artist Lou Laurens

There are photographs but due to reactions to my actions and words the copyright to show them publically has been withdrawn. 

the full unedited half hour recoding - note it was performed at the bottom of basically a very metallic stairwell!






Tuesday, 7 June 2011

Dw i'n crwydro'r byd...additional words, in the wake of

one speaks while hearing one’s own speaking, wedding the self and sound as a singular event... since the voice is capable of being internalized at the same time as it is externalized, it can spill over from subject to object and object to subject, violating the bodily limits upon which classic subjectivity depends (LaBelle, B. (2010). Background Noise. New York/ London: Continuum)


The voice is also felt in the body: it vibrates, through breath, in the diaphragm, the folds of the vocal chords and in the eardrum.

Words that desire to be said, that cannot be said, not publically said. The unsaid is part of us is held, holds us. Words woven into a nest that sits in the hand, long string imply possible future weavings. Words made material, 3 dimensional, words safe enough to give to you – but silent, unreadable words. I also give my words to a stranger [ripped into strips, rearranged, retyped, remade], he sits back to back with me, reads my fragmented words, I cannot see him, I can hear his voice as he spills his/my body out, I feel my words as his rib cage resonates against mine. Self and other.

I embody the words. I disembody the words – hand them over, both readable and unreadable, I re-embody the words both feeling/hearing them come back to me and as I weave. I hear and feel my words but do not speak them.

Tuesday, 29 March 2011

Dw'n crwydro'r byd yn chwilio am nghrud

crud

at Beyond Text: Making and Unmaking Text
Centre for Creative Collaboration
London
January 28th 2011

I sat weaving, a man sat back to back with me reading my words, the words fragmented from their sentences to make new meaning.
We weave our complicated lives? Bad and good, distressing and pleasing. Can we hold it? Are we held by it? Re-making the words I present the difficult side of my life; they can then be held in your hand. Words are spoken. a sense of closeness for the performing strangers, each others movement felt by each other.
weave : leave. weft : left. public : private. truth?


crud

A link to an after writing
follow this link for a bit more information

Arranged 7 curated by Becky Cremin & Ryan Ormonde
Funded & assisted by AHRC: beyond Text; Royal holloway, University of London and The Centre for Creative Collaboration.

Tuesday, 22 June 2010

Art at Rhosygilwen



I will be showing work at Art at Rhosygilwen, arts festival, July 3rd & 4th
in the exhibition:

Tarantela yn erbyn y wâl: dawns i arbed fy mywyd cyn i mi gyrraedd 50
Tarantella against the wall: a dance to save my life before I’m 50

Tarantella: a dance to remove the poison and melancholy of the spider's bite, a dance to save your life.

I examine myself, my body …not a youthful body any longer, physical limitations, psoriasis, notions of depression, melancholy and what are we do about such emotions?
Alongside this are my continuing investigations of movement and stillness, which captures movement best, moving or still images (wrote my first essay on this in 1983)? In what ways do we believe photography? If I tell you this is taken with a compact camera with no cable release; and these are not stills from a video…. How do you read it?
At times it is impossible for me to dance due to psoriatic arthritis…so how do I set out to save my one, precious life? And how do I feel about wearing a petticoat in a smooth skinned slim youth beauty culture?
a slow tarantella by L' Arpeggiata - "remember you must die" can be listened to here
around and about:
Cosmic housekeeper: sweeping the yard
Gwraig cadw tŷ cosmig: ysgubo’r llathen
cosmic housekeeper : sweeping the yard i 4
Turning the ordinary into the extraordinary. A square yard is defined by four tape measures – metric on one side, imperial the other, pinned together. A small quadrant of the universe is designated for cleaning. All manner of brushes and cloths are used.
Conversations sometimes occur… about domestic things, a particular one I remember is about an old tradition, from maybe just my locality, of cleaning slate floor slabs then drawing a pattern with dock leaves.

Tuesday, 25 May 2010

holy hiatus iii


6 images very very very slowly dissolved from one to next. the first two from preparatory work, the second two from HH i the third pair from HH ii

Tuesday, 27 April 2010

Holy Hiatus III




performance
Saturday May 22
4 – 10.15 p.m.
Small World Theatre
Cardigan

perfformiad
Dydd Sadwrn Mai 22
4 – 10.15 y.p.
Canolfan Byd BychanAberteifi

This ongoing collaboration between Maura Hazelden & Lou Laurens explores the relationship between the material and the immaterial through image, voice and movement. Can the physical change consciousness, create sacred space, evoke the “holy”?

Mae’r cydweithrediad parhaus hwn rhwng Maura Hazelden & Lou Laurens yn archwilio, drwy ddelwedd, llais a symudiad, y berthynas rhwng y materol a’r anfaterol. A all y corfforol newid ymwybyddiaeth, creu gofod cysegredig, galw ar y ‘sanctaidd’?

A limited audience at any one time. Refreshments available.
Cynulleidfa gyfyng ar unrhyw un adeg. Lluniaeth ar gael.

unfunded untitled unrehearsed
heb deitl heb gyllid heb ymarfer
from 2009





sensing listening sounding
sensing listening moving

Sunday 16th May/Dydd Sul, 16fed Mai
2 parallel workshops with Maura Hazelden (movement) & Lou Laurens (voice).
£20 Booking essential
Cardigan/Aberteifi
Workshop: 2.30pm - 6pm. Shared space: 7pm – 8.30pm.

WORKSHOP POSPONED
For further information about the performance or workshop please Email: sensinglistening@googlemail.com Tel: 01239 891603

link to further details of the workshop

link to all Holy Hiatus entries....with further links to writing....

Monday, 13 July 2009

Cosmic housekeeper: sweeping the yard.

art @ rhosygilwen









one square yard is swept.

what is the geometry of this? what is the space time dimension? which space am I sweeping? my headspace?
Somehow on the steps I felt more like I was shifting space, cleaning something in a parallel universe/somewhere else in the cosmos




Saturday, 31 May 2008

Holy Hiatus






Untitled 6 hour performance

with Louise Laurens

May 22nd 2008, Small World Theatre/Theatr Byd Bychan, Aberteifi/Cardigan


watching for the liminal in repetition.
After some while I chose to do my moving from a chair. I sat, as soon as I started to move it was prayer, contemplation.


Also see set of images: here

Holy Hiatus
Ritual and Community in Public Art.

The moment of crossing the threshold between outer and inner consciousness.
Curated by Ruth Jones
Aberteifi/Cardigan

Alastair MacLennan (Belfast); Simon Whitehead (Abercych); Maura Hazelden (Crymych) with Louise Laurens; Anna Lucas (London); Yvonne Buchheim (Bristol LAND2 Member)
and symposium

for further information see Holy Hiatus web site

an introduction to the performance can be read here
and a meander throught the themes and symposium here

Tuesday, 1 May 2007

Red Riding Wolves



The imagery here was via www.slide.com which has now closed, I will replace ASAP



featuring Louise Laurens and Ailsa Richardson
part of an ointment 'all in a day' event

additional texts are being compiled here

Saturday, 31 March 2007

with ointment at CAT 2007



The imagery here was via www.slide.com which has now closed, I will replace ASAP


Cardiff Art in Time Show 2007, ointment create Scratch; within Scratch I create I will not

Thursday, 30 June 2005

Eli (salve) with ointment



ELI (salve) prosiect ointment projects 2005

Over the last 4 years ointment have initiated a number of public arts projects exploring the relationships between nature and culture in the rural, both here in west Wales and Internationally.

Spanning the seasons between summer 2004 and spring 2005, the artists of ointment will create the ELI (salve) project. In the following live art events they invite the public to participate in a series of walks to find extraordinary herbs in ordinary places and to join with them in making ointment, the ointment itself serving as a medicinal balm for the collective skin of a community and as a botanic and cultural map of particular geographies of west Wales. Also Simon whitehead and Maura Hazelden will take the project to Darmstadt in September 2004.

look here for all eli entries

click here for full eli (salve) text

eli (salve) on ointment site found here

Wednesday, 30 March 2005

Marcheurs des Bois

Marcheurs Des Bois was the second part of an international exchange between artists from Boreal in Quebec, Canada and from ointment artists collective in Pembrokeshire, Wales.






A long bad dream goes grey and feathery I wake sit up and see thick snow falling outside. I come back when I am hungry, hands, arm and feet hurt as I walk. I begin to realise my limitations. The steaming river frosting the alders. The evidence of mammals criss-crossing the snow. Clear skies of stars. A cradling new moon, an egg moon, a full moon. My first walk in a snowy forest since I was a child. Sunrise seen through frozen eye-lashes. Ice. Ravens. Woodpeckers. Deer. A wolf.Catch a sparkling fragment of air, early morning air full of woodpecker and tiny spangles. 22° halo, with rainbow circumzenithal arc, and later a lower arc. I kneel under a birch tree and mark the shadows cast by twigs by pressing a plant stalk longwise into the snow. I kneel and watch the earth move. I kneel and am surrounded by a rainbow shattered into minute fragments, as the sun pours onto the snow. Walking, resting or sleeping in the snow. In the evening sewing tiny gloves and deformed hands, wax dipped. Very hard work, takes so much time with my hands they way they are.




main, gant, rose/llaw, mennyg, rhosyn

small gloves with additions from walks: deer hair, lichen, bark...
small hands each not perfect (felt dipped in beeswax)
rosebuds previously sew to my fingers in water:ice felt tubs
displayed outside under the bushes where the rosebuds had been buried for most of the two weeks - except when squirrels dug them up.

walking to sleep: to find my cradle.
each day I went out and found somewhere to sleep. I made a book with water colours and text. an extract of text:
Sous un pin, je dors. Dans la neige profunde sous les branches, je me recroquexille dans la neige profonde. Je suis reposée sous l’épaisse neige qui tombe. Je me couche sous le bleu, dans lair immobile. Je somnole. Je danse. Je retiens mon chagrin. Je suis coucée le regard tourné vers les grands arbres et la neige qui tombe. Je chante.
I see a wolf loup blaidd. I see three grouse. A raven grand corbeau gigfran follows me; flies low over me as I curl into deep snow by cedar trees. I do not sleep sa i’n cysgu, but am rested under thick falling snow.
Dw i’n crwydro’r byd yn chwilio am nghrud.



unfinished entry

Marcheurs des Bois website

Saturday, 31 May 2003

Crwydro, with ointment


Tu hwnt y ddeall dyn
(beyond the understanding of man)

unfinished entry





crwydro website
link to introduction of project

Tuesday, 31 December 2002

ointment III

I walk I walk I walk, toe to heel, 2 hours, in the dark around a dim smouldering fire, in tthe old bone house, where animals have walked round and round turning the grind stone. I get so used to the dark that I am lost if someone shines a light; I cannot see my path.

Ritual or what? Ritual or not? I decide to stop and it is exactly the two hours I intended.

Across the way a domestic shrine under a lean-to, in a spring, candles and dressing table.

Tuesday, 31 July 2001

the order of domestic memory

@ ointment II, Llandudoch/St. Dogmaels, Sir Benfro, Cymru/Wales
installation & performance






The Domestic Order of Memory
The Memory of Domestic Order
The Order of Domestic Memory

Order
Organise
Arrange


Every part in its right place
A place for everything

Trefn Ddomestig Cof
Cof Trefn Ddomestig
Trefn Cof Domestig

Trefnu
Cymhennu
Tacluso


Pod darn yn ei briod le

Lle i bopeth


ointment website: events

Wednesday, 28 February 2001

reconcile I & II

@ ointment I, Parc Y Pratt Farm, Sir Benfro, Cymru/Wales
performance & installation


reconcile /,ri:k¥n,sail/ v.tr 1 Make friendly again after estrangement. 2 (usu. in refl. or passive; foll. by to) make acquiescent or contentedly submissive to (something disagreeable or unwelcome) (was reconciled to failure). 3 settle (a quarrel etc.). 4 a harmonize; make compatible. b show the the compatibility of by argument or in practice (cannot reconcile your views with the facts) reconcilement the bringing to agreement things at variance





Reconcile I
Installation and performance in a grain store at Parc y Pratt. The inspiration came from finding the ground of the space covered with owl pellets: a barn owl was residing in the loft of the next space. I brought together the place and the story of Blodeuwedd from the Mabinogion (ancient Welsh legends). The story of a woman created from flowers as reward for a man, who is later punished by being banished into the night as an owl. I feel she needs to be flowers and owls. I used movement and the action of sewing owl feathers and flowers onto a hanging of black silk gauze.
The installation could only be viewed in three specific ways: through the feeder hole at the bottom, climbing the vertical ladder to the top or by looking at the mirror that over hung the space.
Reconcile II
In the barn next door I sat on a stool and sewed rosebuds and owl feathers onto my fingers. There was no barrier between the audience and me in this case.


additional text here

"And the room was full of petals from skylight and rafters, and all about them a fragrance, and petals, flowers falling, broom, meadowsweet, falling, flowers of the oak."

ointment website: events

Thursday, 30 April 1998

possible/impossible transformation





transitionalthreadtransformationtransitionalthreadtransform
a careful experiment in possible/impossible transformation in the courtyard, UWIC, Howard Gardens, Cardiff from 14.00 until it is finished or failed.

chrysalis, 1. a quiescent pupa of a butterfly or moth 2. a preparatory transitional state (L f. Gk khrusallis - idos f. khrusos gold) cocoon, a silky case spun by many insect larvae for protection as pupae.


I sewed myself into the fabric but the thread only went over the body not under. I went right up my torso and neck and some of my arms before sewing myself into it.
To release myself I cut the fabric only, I am very flexible of the arm (of the body, hyper mobility they call it) and could get the scissors to behind my head. I then cut down the back of body and limbs and emerged. It was very peaceful and concentrated, with a passing audience. Slightly damp. No-one saw me emerge.