Pas de Deux, Norman McLaren, 1968

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Tango time! A video of Doruk and I dancing ‘Se Va La Vida’ together. :)

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We survived the shoot! (or “PHEW”)

For all the planning in the world, film shoots can be wild and unpredictable creatures, taunting you to try (just try!) and leash them. 

In the case of Quake, each day of the week had a new drama in store for us.

Monday morning: a weather report of showers all week, especially Wednesday and Saturday (our planned shoot days). A little schedule finagling, and we managed to miss a downpour at 6am on Wednesday - first PHEW of the week.

Tuesday - camera issues, caused by the Magic Lantern firmware that we were using on the Canon 5D3. Now, this is one fancy camera (the rental on this one part of the shoot alone was $500), and it was a bit scary to see a problem that could have completely broken the camera. But it didn’t! PHEW!

Wednesday/Thursday - the flu! I get the call on Wednesday night that the wonderful Director of Photography (DP) has the flu and can’t make the shoot. While I’m fairly competent with a fancy camera, and rather good at framing my subjects, I am no match for her mad skillz with manual settings. But things went well, and I did learn a thing or two on Thursday!

Friday - another forecast to make my head spin - 70-100% chance of showers on Saturday. We waited until the last minute (3:30am, I’ll have you know) to make the call. It was clear enough, so we thought ‘let’s try it!’

Saturday - a freezing morning for half-naked dancers, but they were all incredible troopers. We got a bit of drizzle at around 6:45-7am (truth be told, I had no idea what time it was - once I got shooting, I was completely engrossed) and happily, very happily, we arrived back in the cars just as the downpour began. PHEW!

Now to delve into the juicy fun of editing in preparation for my May 7th pre-release…

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Final test shots for Quake

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An artist statement to be proud of

Welp. After 12 years of art making, I think I can finally call this a statement that actually says what it is that I do. #knowthyself

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'Ringing' Phones Do Not Mean Malaysian Passengers Are OK

electronic failure signifying the possibility of life. good? not good? the intertwined nature of us and technology now. #troika

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Quake developments

February certainly moved along quickly, and with it, the process and progress of Quake. I had an opportunity to show a minute of the work in-progress among a stellar (and highly respectable) artistic cohort, and was very happy to hear an enthusiastic ‘yes!’ all around on the work I’d made.

In private conversation with Cari Ann, I showed her some of the “absolute no” material, and she basically rolled her eyes at me and said it was fine. Ah perfectionism. After looking through more of what I’d shot, I decided to go with what I already have. I’ve pushed up the outdoor shoot portion to late-March, so I don’t miss that winter light and keep the momentum as best I can.

Down to two locations, going out this afternoon to take a look, breathe the air and watch out for Poison Oak. More to come…

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We Are Just Not Here Anymore

Inspiration for the next iteration of ‘Troika’…

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Early morning location scouting for Quake. Headlands, Marin, CA.

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"Quake: The Film"

39 hours to go! 

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Why is Quake so special?

It’s difficult to explain in words what another art form does better - dance film, in this case. Quake is one of those dance works that arise so naturally, and feel so right, both to the performer and to the viewer. How then to put it into words?

Quake is human, electrifying, vulnerable, jarring, dark. It shows the body as landscape both on the macro and on the micro level. Using earthquakes as a central theme, it fractures movement, people, space and time. 

As Quake is made into a film, it’ll be completely fractured apart, and broken into small pieces. Bodies will be fractured apart as the viewer sees them, and will be sometimes put to question: “just what am I perceiving?” 

I imagine this whole piece in two parts: The first is taking place deep below the ground, with the dancers as tectonic plates. Their collisions and near misses have effect on the woman outside the window: she is us. Then, as though they could somehow shed their skins of being tectonic plates, they link with the woman outside - through vast amounts of space and time, as though they were all riding along a fault line.

Whether the narrative is easily perceived is unimportant to me. It is the unspoken effect that the choreography has that remains with the viewer. It is important that the stunning mystery of the whole work be shared with the world; it is felt as a deep pulse in the heart of the viewer. 

If you are able, please support this project.


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