Black Objects, 2014
‘Black Objects’ 2014 is a series of three anthropomorphic sculptural works that can be performed with. I am intrigued as to how a relationship between a specific object and a performer can create a charged space – perhaps an intimate one, a vulnerable one or an aggressive or authorative one. The way an object is made also has an impact on how the performer reacts to it and behaves with it. Whether the object is breakable, flexible, hard or soft can determine the emotive journey of the piece. Equally the object may reduce the physical capacity of a performer forcing a new type of movement to occur. The unpredictable nature of this relationship allows for unprecedented, improvised contortions from both the performer and the object, as they become an inter-dependent entity.
For ‘Disobedient Art’, ‘Black Objects’ will be installed as stand-alone sculptures for the duration of the show. A specially devised performance, drawing on elements of the Japanese dance form Butoh, will take place during the show featuring Greenwood and two other performers who will interact with the objects. The sculptures will be re-installed by the performers perhaps tangled or broken – evidence of the spectacle that will have taken place. The sense that this work is always in flux – constantly changing – takes on an unnerving quality of ‘disobedience’.
About the performers joining Andrea Greenwood
Born in Tokyo Japan, Negoro has a background in classical Ballet. She went on to develop as a contemporary dancer focusing on improvisation. Over the years she has collaborated with artists and performed in various galleries and site-specific locations in Tokyo. From 2001 – 2006 she was a member of Setsuko Yamada’s renowned dance company Biwakei and performed with Kim Itoh + Glorious Future. Both dancers’ dance styles originated in Butoh. Her dance is strongly influenced by them.
Is a visual artist and performer. Her practice is based on site-specific and time-specific investigations, working with impulses, responding and experimenting with subject matter in an abstract way. She has a long-standing interest in Butoh, focusing on how body movements and slight gestures can express ideas about human nature. Her process includes improvisation arising from the ‘Butoh body’ (the body danced from within), mapping space and time simultaneously responding to perception and intuition within the rhetoric of minimalism.
Making work is a journey. The starting point rarely indicates potential encounters and processes along the way and the end point, therefore, is often impossible to predict. My practice is primarily an investigation into material. I incorporate processes that combine the creating of formal objects with the performative qualities involved in making. I continually test, play and experiment with materials whilst also investigating the historical and cultural associations certain materials or objects, that I am using may have. This leads to the creation of a number of works, in different mediums, that are the outcomes of various research strands. The dimensions, finish, form, or placement are determined as much by conceptual content as they are with the material qualities. The transformation into new mediums, which could be objects, documentation of actions, prints or live performances, attempts to reveal or question notions of materiality and its ‘functioning’. What becomes evident is the underlying potential disruption of the familiar within the new work.