A person reaching their hand toward a circle of light.

Michelle Ellsworth

Artist in Residence, 2017

A portrait of a person lit by an indigo light.

Artist Statement

Currently I’m attempting to make kinesthetic replicas of peculiar geopolitical (and personal) phenomena I have noticed.  I don’t have a thing for science, technology, or carpentry, but I often find myself commingling with them as I choreograph coping strategies and manufacture wood and web based solutions to (or/and demonstrations of) some of the unpleasantries of humanness. The pharmaceutical and political potential of art interests me, as well as the value of bad and labor-intensive ideas.

While at Headlands

While at Headlands I will research and develop my latest performance work, Post-Verbal Social Network (PVSN)PVSN employs choreography and a collection of early industrial technologies (such as pulleys, catapults, and hand cranks) to amplify and augment physical collaborations between dancers. Simple mechanical apparatuses (built into costumes and shoes) will comingle with choreography to: 1) extend dancers’ bodies and functions, and 2) illuminate how contemporary digital technology is impacting our bodies and our social interactions. PVSN will remind us what a physically productive, collaborative, non-language based, non-mediated, pre-industrial, human-to-human, 3D encounter looks and feels like. I am inviting audiences, collaborators, and the public to participate in an old practice made new—a post-verbal social network—a community connected by the physicality of the body, not the technologically rendered musings of the mind. That said, an App will accompany the piece.

Selected Works

Clytigation: State of Exception, 2015; Performance.

Preparation for the Obsolescence of the Y Chromosome, 2015; performance.