TiLTING VERTICALITIES (exercise #±1 ) nests and expands a choreographic language of movement that I have experienced as a dancer, and within other forms of lived experience. It resembles a spatial meditation sensed in direct relation to another, liberating a non-verbal, pre-linguistic form of knowledge. Moving collaboratively as in the art of dancing, the exercise reimagines the unifying act of peaceful engagement through the simple yet profound act of being in touch.
.
Holding each other as we nurture new perspectives, we bring our own into equilibrium into balance while sharing our unique ways of moving, counterbalancing, and being moved—engaging with the choreographies and architecture of each given context and space.
![]()
![]()
Each loop sculpture and elastic painting serves as a expanded documentation of the performance, becoming an object of experience that resonates into the future—both documentation and a resonant object—an embodied archive of the work’s choreographic life.
These materials record the encounter without fixing it, holding memory while leaving space for future iteration.
Beyond this performative moving installation, immersive choreographic process, and participatory practice, TiLTING VERTICALITIES invites us to (re)animate, (re)imagine, and sustain dances, rituals, and conversations on different dimensions of being and caring.
Click [here] to learn more about the diverse contexts and communities connceted to TiLTING VERTICALITIES.
Thank you to all the dance artists who have held hands with me, with this work, and with the moments captured in these images: Alexandra Baybutt, Pepa Ubera, Lizzy Le Quesne, Carolyn Roy, Laura Doehler, Marina Collard, Iris Chan, including photographers Anne Tetzlaff and Nikki Tomlison..
