Late at night, there are animals minding their own business beside a lake. Some of them meet at the end, and then they drink tea and making sticky rice happily together ever since.
NB: This is a film built entirely on sex metaphors, view with caution.
In a dystopian and colorless universe nobody dreams, and nobody wins. Emotions are useless, as are abundant thoughts. A hive with marked paths to serve an unnamed queen.
He saw her. He touched her. She was the only one to break him from years of mechanic and automatic routine, if only for a flash. Where will that lead him? Straight to a new understanding, or straight back to hell?
A dance and music collaboration between sisters exploring a coal mining site from the 1920’s where an iconic structure called the Gronk still stands. Body based dance research and song writing were translated based on the mining history of this place. The sisters collected stories and myths on Peanut and Pershing Mine from elders in Crested Butte, CO. Sasha developed gestures and movement themes from the mining stories and Sophia created lyrics and music. The Gronk overlooks spectacular views of Paradise Divide in the West Elk mountain range. The sights are beautiful and popular for outdoor recreation; however sadly still toxic. The land has only partially recuperated from destruction. Mosses are the first step in ecological restoration of toxic mine sites. Very few mosses are growing here. After land violence, how is spirit of place honored?
“Reshaping Dance in Crested Butte”
Stance on Dance: Creating Dialogue and Community around Dance
Experimental horror film studying a ‘Peeping Tom’ as he gathers footage and reviews his findings amidst a storm of psychedelic visuals.
Film Type:Experimental, Short
Runtime:7 minutes 51 seconds
Completion Date:June 9, 2018
Production Budget:2,000 USD
Country of Filming:United States
With this video art I seek to achieve a transgression and a rejection to those impositions through my active and non-passive perspective as an artist and a woman in a patriarchal society. The above can lead to questioning that viewing in public space and how the role played by the representation of women in the sexual construction of this society is examined.
At the beginning of the audiovisual, private space that appears and disappears is presented through the elements that shape still life art, which refers to contexts that could be interpreted from domesticity and, therefore, as a metaphor of oppression, and seclusion.
But, as the video art moves forward, the bodies transcend those limits and build public territories; spaces in which they unfold, sometimes mutating to amorphous brushstrokes that allow another view to serve as resistance.
In short, they are bodies of women who reject submission and impositions within the parameters in which they do not wish to live.
A question that is always in my work and with which I wish to conclude, is the one that Patricia Mayayo (2011) establishes when she enunciated: ¨What happens when the female character is viewed frankly and openly? What does the image of a woman who views mean in a patriarchal society? (p.208)