What struck me the most was the energy that she both struggled against and contained in her dance. She was exuberant, a life force… but also seemed trapped. I loved the architecture of space in her pregnant form and I tapped into the metaphor that her pregnant body represented the larger body of Mother Earth that we all share and depend on for life. We humans mine into our earth and exploit it to gain our own energy & life force… minerals, metals, oil, gas, water. Many of the dancers arm movements seem to mime vertical digging movements (mining, hydro-fracking, drilling), and her kicking and arm gestures implied a column of dimensional space above her, to the sides and bellow her, as if her symbolic life force was walled in, but barely suppressed.
In interpreting the dance as a sculpture, I used many torn, dirty layers of square man-made materials that are made from oil: foam, rubber, tar, acrylic, to form a dark column of external support. I contrasted this with a lush, circular tunnel-like interior of real green moss, that surrounds a dynamic and reflective seed of light at its core. Upon further discovery, the sculptures internal seed becomes kinetic – with gentle participation. The expression of this sculptural form is a micro illustration of a macro concept: within ourselves and every stratum of our Earth, there contains a dynamic life force that sustains us – if we, in turn, sustain it.