I see the costume as an active, live-art object containing the “soul” of both the performer and the performance. My attraction to dance lies with the belief that the set and costume—constructed as starting points for the choreographies— act as stabilizers for this very transient experience. Displayed in the post-performance mode, these vacated garments are more than mere beauty marks but are memory stimuli for the gestural vocabulary seen in real time.
The costumes shown here were designed for specific dancer’s movement, shape and persona, and integrated into the choreography from the onset of its conception. Using a combination of found textiles, hand-sewn pieces and various trimmings, both industrial and domestic, the costumes flux between attention grabbing and disappearing into the everyday. All were created with dancer/choreographer Vicky Shick and in later projects with the intermedia and sound artist Elise Kermani. I am grateful to both artists for many years of sustained creative dialogues.