Ivey will use her time in the research room continuing thinking about reproduction and representation as disguises for the choreographer (or dancer), and as openings for the production of new material. She will be looking at the role of sensation in her practice and thinking about what actions produce, on and for subjects and objects.
Ivey has been using reproduction as a means for entering into a mode of ‘being with’ the dance and using representation, in the forms of geometry and colour, to disguise material in a wash of recognisability; seeing what can unfold once the initial affront settles to the bottom… or, the background? These simple propositions of geometry and colour have come to exist as gentle invitations that promote inclusivity and move away from the possibility of alienation, and exclusivity produced by a striving for some outer idea of excellence. She’s thinking about the nature of originality; positing it as an illusory spectre in an attempt to contain my research within a place of modest, quiet reality. She’ll take a choreographic approach to text, drawing from Elizabeth Grosz, Gilles Deleuze & Felix Guattari, David Abram, Jean Baudrillard and Merleau Ponty; arranging their thoughts around one another, in an attempt to inject their little nuggets of crystallised wisdom into my process.
Note: Whilst this research is an extension on an ongoing dance project for one live body, “Spectral”, developed at Critical Path, Bundanon, and ReadyMade Works, it will also function as an initial collecting stage for a new project to be performed at CRACK theatre Festival in Newcastle, NSW in September.
Ivey Wawn. Photo by Martin Fox.
Ivey Wawn. Photo by Louis Birks