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| My longtime
collaborator, we have been making pieces together since the
mid-80's. We started out as improvisors and have evolved into
a choreographer and composer/still dedicated to improvisation.
"Her movement is ferocious in its concentration and fiercely
taxing in its execution..." Most of the scores I have made for
Jennifer have been played live, musicians occupying the same
space as the dancers. |
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| Sender |
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The
Kitchen NYC, 1997 |
| La
Mer |
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PS 122 NYC,
1995
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| Tacklerock |
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Danspace
at St. Mark' Church NYC, 1994
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| Finn's
Shed |
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PS
122 NYC, 1991 |
| Ursa's
Door |
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Danspace
at St. Mark's Church NYC, 1990
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| Ignasius
Bight |
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PS
122 NYC, 1989 |
| Hunk/Toad/Deliver
and Simon |
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Lincoln
Center Out-of Doors NYC, 1989
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| Blood
on the Saddle |
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Danspace
at St. Mark's Church NYC, 1987 |
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| Jennifer
danced for many years with Jennifer Monson. The work I have
done with JL has allowed me to explore some of the more sculptural
aspects of sound. In Voice tells....60 very small speakers hung
above the audience, and then sets of stereo speakers placed
behind, underneath and in front of the audience I played the
electric harp live on stage thru an amp and there was a live
mixer just off the stage moving the sound around the room. In
$ Shot....I sit behind a long table just to the side of the
set surrounded by the main sounds for this score which are various
types of plastic. I also use a wave generator, filters, a ring
modulator as well as leather, rocks, latex and other organic
and inorganic matter. The sound reaches the audience thru 2
sets of stereo speakers. Here are selected performances of these
two pieces: |
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$
Shot
A collaboration with
visual artist Nadia Lauro |
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Kortrijk
Theater Kortrijk, Belgium, 2000
The Kitchen NYC, 2000
Centre De Pompidou Paris, 2000
Theatre de la Bastille Paris, 2001
La Criee Centre D'art contemporain
Rennes, France, 2000 |
[voice
tells] 14 tiny pictures
no more, no less |
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PS
122 NYC, 1998
Serious Fun Festival
Darmstadt, Staattheater, 1998
Klapstuk Dance Festival
Leuven, Belgium France, 1997
Festival Nouvelle Scenes Dijon,
France,1997 |
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| When
I first started working with Neil he had never used music or
sound in any of his work. In the first piece I used sound very
very sparingly , just a bit of wind a a few loops subtley placed.
Most of the work I have done for Neil has been re-mixes and
manipulation of pre-existing material. |
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Construction
with
Varied Materials |
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The
Kitchen
NYC, 2000 |
| Sequel |
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Joyce
Theater NYC, 2000 |
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My Fair Lady, Part Three |
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The
Joyce Theater NYC, 1997 |
| The
Disco Project |
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PS
122 NYC, 1996 |
| Not-About-Aids
Dance |
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The
Kitchen NYC, 1994 |
| Kick
Me Dance |
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La
Mama Annex NYC,1992 |
| Destiny
Dance |
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PS
122 NYC, 1991 |
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| Cathy
Weis and Scottie Heron |
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The Kitchen NYC, 2001 |
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| Texture/Composite |
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Numerous
performances in France, 1998-2000 |
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| Hup
2 |
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Dance
Theater Workshop NYC, 1997
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| Wolf |
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Dance
Theater Workshop NYC, 1995
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| Hup |
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PS
122 NYC, 1992 |
| Angel
Animal |
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Movement
Research NYC, 1990
Sante Fe Museum of Art
Sante Fe, NewMexico, 1990 |
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Fissure |
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Joyce
Theater NYC, 1988 |
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| Rickety
Pearch |
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Danspace
at St. Mark's Church
NYC, 1989 |
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| Surface
Noise |
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Abigal
Child
score by ZP, Christian Marclay, Jim Black, Shelley
Hirsch, 2000 |
Treyf
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Directors:
Alisa Lebrow and
Cynthia Mandresky, 1998 56
minutes |
Hairless
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Dir.
Janene Higgins, 1996 3:45 |
Sleep
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Director
Janene Higgins 4
min |
Soi-Meme
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Director,
M.M. Serra, 1996 5
min |
Nightmare
Alley
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Director,
Tom Lesser, 1993 4
min |
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The
Opium War
Ana Maria
Simo |
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Director,
Linda Chapman
New York Theater Workshop, NYC, 1993 |
The
Opium War
Ana Maria
Simo |
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Director
Linda Chapman
Intar II, NYC, 1991 |
Isabella
Dreams
the New World |
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Written/Directed: Lenora Champagne
Ohio Theater, NYC, 1990 |
Salome
Oscar Wilde
adapted by Sarah Schulman |
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Director:
Linda Chapman
PS 122, NYC, 1990
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| Fanon's
People |
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Toby
Armor, directed Aileen Passloff
Theater for the New City, NYC, 1988 |
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