Thank you very much. When I first began choreography as a young choreographer, or younger choreographer,
I really just started with body or bodies and light. That was the first thing. And from
that point, I started to consider the audience looking at those bodies and what's their position,
what's their orientation, and what is the consciousness of their sort of corporeal self
as well as what they're watching. I then became quite interested in performance and
actors and characters within my work and the idea of the self-conscious performance itself.
And within that came conflict between performers. But I think an ongoing interest of my work
has always been, I guess, the choreography that is outside the body or the relationship
of the moving body to the space around it. And when I first started to try to, I guess,
visualise it, I began to use water as a way of showing arcs of movement and amplification
of movement. But theatre technicians became very nervous about that. There's a lot of
cabling and lights. And I was discouraged in a very strong way to desist from that kind
of practice. So after that, I started to work with some people with video projection. But
using the movement and the information of movement from dancers to then create the actual
projections themselves or to create light and project that back onto the dance to see
what the effect the movement has on the space around them, including lasers as well. And
this began quite a long period of research with infrared interactive video tracking.
And it really is, you know, while it's technological, it reveals a very organic aspect of both the
body and its relationship to the space around it.
Thanks. Hi. It's great to be back. In 1995, I was taking a hike in Utah. And it came across
a dry wash. And at the bottom of the wash, there was this little caterpillar. And it
was actually transparent. I could see right through it and see the ground on the other
side. And it turns out that this changed my life. And I spent the next, like, two years
trying to make a mechanical caterpillar. And I like math. And so it was an excuse to do
some math, you know. It's always a good thing. And I like working with wood. And I just
come out of some drawing and painting. It was kind of all kind of came together into
this first kinetic sculpture. And it sort of launched about the next 10 years I've been
working on these mechanical sculptures. They're mostly overhead. They have a structure on
the top with, you know, it's very low-tech. There's nothing digital. There's like motors
and cams and levers and pulleys and string. And one of the things I try to do is keep,
like not use an opaque plane and not use a box so that you can, when you're watching
it, you can see how it works. It's transparent. And the top part is as important as the bottom
part. And play around with a lot of different materials. This one is cardboard. Like the
kind of fancy cardboard tubes that come with silver wrapping. If you're looking, if you're
out just like watching water, you'll see waves. And a lot of times, if you really pay attention
to them, you'll see how they're like superimposed. And so like adding together waves has been
one of the funnest things. And the yellow wiggle adds together a three-peaked wave with
a four-peaked wave. The square wave adds together four waves. It's got 3,000 pulleys
and nine motors that make it work. Another thing, if you're out on a really good day
when you're just blown away with how beautiful nature is and you've got some tree that's
waving in front of you, it's just the number, like the more kind of parts that you can have,
the more organic it gets. And so I get into these projects that just have a lot of parts.
The Nebula in Dallas, Texas is made of 14,000 bicycle reflectors. And the whole thing kind
of just, you know, wiggles around. And this one, you may remember. Debuted right here.
The yellow spiral.
Hey. And speaking of here, this is where Ruben and I met exactly two years ago. And we decided
to, we saw similarities. This information through string or information through video
and how it affects what we see. And rather than explaining all of that, we'll show you
a quick video of some of the work that just had its premiere in North America on Thursday.
Thank you.
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