15 May 2012. Sadler’s Wells
It’s 2 weeks since I watched Rambert perform at Sadler’s Wells. Here are some small speedy sketches I made during the performance.
The first dance, SUB, choreographed by Itzik Galili, was in my opinion the most moving and powerful dance of the evening. Seven bare chested men wearing weird kilt-like baggy shorts danced with such strength, speed and dynamism it took my breath away. I live with teenagers and SUB seems to embrace the whole sense of being a teenager. I loved this dance.
Sub, choreographer Itzik Galili
The Art of Touch, followed, choreographed by Siobhan Davies. Inspired by observing the touch of the musician’s hand on the keyboard of the harpsichord and the creation of the sound as the plectrum makes contact with the strings. The Art of Touch is a great contrast to Sub, in this work the dancers feet hardly touched the ground. Rambert danced to a work for harpsichord by Matteo Fargion.
The Art of Touch. Choreographer Siobhan Davies
L’Apres midi d’un faune choreographed by Vaslav Nijinsky in 1912 and recreated for Rambert by Ann Whitley
No sheets left in my sketch book by time the last dance of the evening, What Wild Ecstasy, was performed so sadly no drawings of this dance, choreographed by Ramberts’ Artistic Director Mark Baldwin to music by Gavin Higgins.
My next exhibition is a solo show at No Format Gallery, Mellish Industrial Estate, Warspite Road, London SE18 5N
13th September – 23rd September 2012
Part of ‘On Sublimity and Synaesthesia‘ I shall be exhibiting in conjunction with freelance writer Dr Stephen Baycroft.
Come, been & gone. 2011. Oil on Canvas
Morgan Szymanski. 2012. Oil on canvas
Else Tunemyr and Hrafnildur Benedikstdottir danced, turned, rolled, spun, naked in water which they had spat, dribbled and poured over the studio floor. Reminiscent of french artist Yves Klein’s Anthropometry performance art paintings in 1960, when Klein dragged naked women covered in blue paint across canvas using the female models as human brushes. Friday’s performance was directed and performed by women so had none of the uncomfortable undertones of dominant male directing the woman as “living brushes”. Nathalia Mello joined the action via skype.
