I'm busy working on my blog posts. Watch this space!
October 22, 2017
With the change in season came a change in work, the long term project of Origins came to an end and new beginnings with Emilie Hetland commenced. 'Revolutionary', an autobiographical theatre project about Alexandra Kollontai, a Feminist Communist radical who's work remains to this day as deeply personal and challenging to our society as it did then. The first thing that has struck me with this project is how Alexandra sought a fusion of her life and her work, her political aims were so closely linked for her personal life, her difficulty as a woman to be a mother and a revolutionary. Her writing on the balance of love and work is fascinating and illuminates our cultures obsession with finding the 'soul mate' that will complete us, with having to chose between love or work and how notions of property and possession are interwoven with love and marriage. She had a knack for catchy titles for her work such as 'Sexual relations and the Class Struggle', I highly recommend a read https://www.marxists.org/archive/kollonta/1921/sex-class-struggle.htm
Along side the political project sits Edens Cave that recommenced for it's 3rd R&D at the Asha Centre in The Forest of Dean. These meetings have been deeply nourishing for me as an artist and human. The central question that sits within this work is our relationship to nature and in opposition to working on 'Revolutionary' which has been allot of intellectual work, Edens Cave has been concerned with the spirit and the physical. Taking time to observe the forest in Autumn lead me to consider how inextricable the connection of death is to life within the organic world and how as humans we seem to have lost this sense of connection to the dead. In the forest it is simultaneously a place of immense life and immense death. These meditations have lead us to song, movement and explorations that I hope will be shared next year. There will be a time in which the thrust of these two projects must meet, the philosophical and the political and that is what the process of researching and developing is all about, how we can create form for these meditations to be shared.
And finally Autumn has brought me back to my own work on 'Moontrills' which has existed as dreams and visions for almost ten years now and is starting to surface little by little. I am working purely from what I would like to see visually, and as Aaron Bergmann and I started to capture the central figure of this piece it has lead me off to look at the cosmos, in particular the planet Jupiter and it's 69 moons. I don't want to say exactly what the piece will become because I'd like to follow intuition rather than intellect but I feel sure that Moontrills will be a conduit for the shadowy forms of our subconscious.