TiLTING VERTICALITIES
(The Art of Holding Together)
Affecting effects
towards peaceful states
TiLTING VERTICALITIES is art project that faciliates a collective holding through a choreographic process & experience inside an artwork; an invitation to step inside to investigate & experience notions of trust, grounding, interdependence, tension, care, rest & support—generally shared with and for cultural public programmes, research and educational contexts, groups and individual workshop-lab sessions.
It needs more than one people for it to work, holding and hanging out together with a 5 meter painting, all resting on a elastic band and natural rubber, echoing the healing and restorative qualities of latex to rubber trees. They are organic forms for the public to inhabit.
A safe space to practice is created, by everyone, taking place, exercising peaceful states for sharing space, having each other’s back, balancing, counterbalancing, rebalancing with the conversations emerging from moving together.
“TiLTING VERTICALITIES enacts a place of rest and support that is radically mutual. We sense and negotiate our own and one another’s weight and energy, and the ground, to find safe places off the vertical where we can hang out, snuggle, stretch and play. This piece - whether observed as sculpture & painting or experienced from within - unfolds the delicacy, vitality and strength of embodied interconnectivity”
— Lizzy Le Quesne, dancer and writer, PhD Somatic Dance | Centre for Dance Research, Coventry University.
“In TiLTING VERTICALITIES movement acquires the most subtle tonalities of a painted work, as discrete bodies produce an almost static, delicate choreography, balancing the acts of holding and letting go.”
— Mara Polgovsky, Art Historian and Filmmaker, Birkbeck, University of London.
TiLTING VERTICALITIES is art project that faciliates a collective holding through a choreographic process & experience inside an artwork; an invitation to step inside to investigate & experience notions of trust, grounding, interdependence, tension, care, rest & support—generally shared with and for cultural public programmes, research and educational contexts, groups and individual workshop-lab sessions.
It needs more than one people for it to work, holding and hanging out together with a 5 meter painting, all resting on a elastic band and natural rubber, echoing the healing and restorative qualities of latex to rubber trees. They are organic forms for the public to inhabit.
A safe space to practice is created, by everyone, taking place, exercising peaceful states for sharing space, having each other’s back, balancing, counterbalancing, rebalancing with the conversations emerging from moving together.
“TiLTING VERTICALITIES enacts a place of rest and support that is radically mutual. We sense and negotiate our own and one another’s weight and energy, and the ground, to find safe places off the vertical where we can hang out, snuggle, stretch and play. This piece - whether observed as sculpture & painting or experienced from within - unfolds the delicacy, vitality and strength of embodied interconnectivity”
— Lizzy Le Quesne, dancer and writer, PhD Somatic Dance | Centre for Dance Research, Coventry University.
“In TiLTING VERTICALITIES movement acquires the most subtle tonalities of a painted work, as discrete bodies produce an almost static, delicate choreography, balancing the acts of holding and letting go.”
— Mara Polgovsky, Art Historian and Filmmaker, Birkbeck, University of London.
“I find your work incredibly powerful in nourishing my own practice, repertoire and sense making within and beyond both the spoken word and active listening. I can’t thank you enough for the care, forensic exploration of complex ideas in an approachable and utter compelling way”
—Alex Bell, FRSA FCCT FIoL FICRS FLS | Portland Education—global leadership & innovation coaching | Oppi Global
—Alex Bell, FRSA FCCT FIoL FICRS FLS | Portland Education—global leadership & innovation coaching | Oppi Global
