Migrate border line
migrate border line is a physical exploration of how mass movement, interpersonal relationships, and self-constructed barriers can alter the personal viewpoints of an unconsciously performative audience. Structured as a triptych, the three corresponding sections work to bring together those occupying the space and to dissolve the divide between performer and audience. Based in initial questions on how grief informs and affects creation, the work evolved into a reflection on what boundaries mean both physically and emotionally. Performed in a contemporary art gallery, the work exists in close proximity to the audience as an attempt to further engage them in this group reflection. Structured through the improvisatory tasks of research, recovery and re-shift, migrate border line is an ongoing exploration for all involved.
Below is a selection photos from audience members and SOUP's resident photographer. In total, I probably have archived about total 300 images in my personal collection.
The night of performance was capture through two different cameras as seen below.
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On the night of the performance, note cards were handed out in an effort to collect the audience's immediate reactions. In the days following the performance, I also met with my mentor during the process, dancers in the work, and friends who viewed the work. Here are some of their responses:
"Tape - more like social bonding."
"The work makes you see the person or tape next to you, both physically and mentally."
"There is a slow reveal of the work that moves from natural to unnatural and yet resolves itself completely."
"I was allowed to another person more completely."
"I came in and was allowed to erase any assumptions I might have made about the event."
"It was physical confrontation of immersive-ness."
"The close proximity of the dancers was unusually comfortable. In the first section, I even wanted to join in on the dirt direction."
"The work established each dancer as an individual."
"Tape - more like social bonding."
"The work makes you see the person or tape next to you, both physically and mentally."
"There is a slow reveal of the work that moves from natural to unnatural and yet resolves itself completely."
"I was allowed to another person more completely."
"I came in and was allowed to erase any assumptions I might have made about the event."
"It was physical confrontation of immersive-ness."
"The close proximity of the dancers was unusually comfortable. In the first section, I even wanted to join in on the dirt direction."
"The work established each dancer as an individual."