FILMING THE FILM: SUSPENDING COHERENCE AND FLUDITY
In experimenting with rope, words and my body, I research the process of filming, editing, and filming the film; how is it similar to the process of making movement, of how I use my physicality, my body-space-time awareness in every dancing moment? I explore visual images with the camera based on my knowledge of visual image in movement improvisation. Temporality, memory, ephemerality and carnality are aspects I keep returning to in my movement and compositional practice and which begin to emerge in some of the films in this blog. In examining what my style of working with visual image is, how I edit a filmed sequence and what I do with the result, as well as being aware of what it is I choose to keep and what gets thrown away, I realize that not only do I tend to rely on intuition or what I would call a body-sense-non-visual feeling; I also, at times unconsciously, integrate my current space and situation into the decision-making process. In film-making, I suspend my knowledge of the live performing body and I suspend my knowledge of clarity and integration in movement and composition. What is left are pixeled, porous, grainy and layered images of light and color that reveal micro-detail and hint at essence.