Embodiment of a Dancer
Emma Clifton
Abstract:
The human body is a tool through which motion can be relayed. It is through intensive study and creative expression that this tool is able to channel and perform through art. When a dancer appears on stage her body is her tool. She expresses her emotions and her choreographed piece in an almost effortless fashion, floating across the stage seamlessly. She is the subject of our gaze. What if we were to alter our concentration slightly however and instead of focusing on the dancer herself, instead only saw her motion, the product created by the tool. Can the piece still be appreciated as much as when the visual stimuli of the tool itself was present, enabling better understanding and interpretation of the motion.
I performed intensive research into art and dance ranging from the traditional and visual to dance choreography and computerised visualisation techniques. Through incorporation of all areas of the research, a piece of experimental 'Visual Art' was produced. It attempts to test the balance between character and animation, dancer and motion much in the way that Oskar Fischinger was able to optimise motion in 'Motion Painting No 1'.
Has character-less motion been achieved in this piece? It is up to the audience to decide.
'Art is not what you see, but what you make others see'-Georgia O'Keefe
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