Using homemade giant brushes and water as a medium, calligraphers practice their writing in the parks in Beijing. Inspired from this, Invisible Drawings: GREY AREA is part performance, part graffiti, and part social experiment. This investigation of environment, painting and dance has led to workshops and collaborations that will be documented here and at https://vimeo.com/user7139546
Natalie Adams (UK) Christine Cheung (CAN) Arianna Rodeghiero (IT) and WOOGURU (KR)Videographer: Florian Klein (DE) 24 April – 05 May 2013
During our residency at L’Atelier we explored, together with dance collaborators Arianna Rodeghiero (IT) and WOOGURU (KR), the relationships within body, gesture, sound and visual production.
Over the course of ten days, we employed elementary materials such as industrial iron plates, rope, salt, chalk and charcoal, and used the gallery space as pictorial surfaces through drawing and dance. Here
patterns begin to emerge in terms of sound, observation, echo and
erasure as well as gestural relationships. Through large-scale
artworks, video and sound installation, fragments of performative
gestures and live actions, we improvised mark-making and body movement.
The public was invited to observe past and on-going performances; the
realms of drawing and dancing became blurred.
Thanks to Florian Klein for documenting and creating this video:
Hand piece, WOOGURU and Cheung, photo: Judith Lavagna
The dancer moves with his
hand and the painter periodically follows the gesture and timing of the dancer.
Echo piece, Natalie Adams, WOOGURU, Arianna Rodeghiero and Christine Cheung,
All face away from the drawing on the wall and are unable to see the result. The drawer responded to each dancer as they
improvised movements, either through copying their gestures or through the
echoing of their action. The dancers responded to the sound of
the drawing materials.
Sound piece, WOOGURU and Christine Cheung
Photos: bpigs and Judith Lavagna
WOOGURU (KR) improvises bodily movement on iron platse with his
feet. Mics underneath the plates amplify the sound. The drawer responds by improvised drawing on the plate with chalk, and also produces sounds. The dancer sometimes responds to these marks and the drawer.