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Celeste Miller: Artist Statement in progress (always)
I do it because its fun, I do it to survive, I do it to understand the world not necessarily in that order.
I intertwine movement with text in a choreographed arrangement of the body and spoken language to create and dance a mytho-poetic symbol system.
I seek the moments where the shifting relationships of the primacy of the text and the movement at any give time are opportunities for collisions and intersections to reveal that which cannot exist if one is without the other.
I want something other than what is assumed to be true to fall out unnoticed. Scamper across the floor, slide up a pant leg, or into a sock, hop in a purse, nestle in a pocket, get inhaled in a guffaw I hope for the capacity for metaphor to be unleashed.
Its about the words and
and laying them beside each other, hoping to weave them irrevocably.
Sometimes I sort them out in stacks and give them new names so their mother’s can’t find them.
I ask them to surprise me, teach me something new about myself. I ransom them and then beg for their return.
I confess: I love words. I need the words.
I take them out dancing and we are never the same again.
We eat, we dangle over a waterfall, we set sail downstream in a paper boat.
I sprinkle them on cereal. I sneeze them, cough them, drape them over my belly and tickle them. I throw them away and get very, very angry with them. We kiss and make up.
I put the words in my body and release them in a rhythm of ragged vocabulary glances. Is this a body research? Where the words are unbalanced, analyzed, restructured, constructed, flipped, tossed, tasted, smelled, screamed, whispered? Through the flames, boiled in tears, placed on a mountainside in the rain to see what remains.
I look for the construction of moments that are a rhythm of honest, down homeness of the person /performer slipping in and out of moments of intimate theatrical magic.
I want the work to stimulate the viewer to create metaphor.
I want to create an experience for the audience where they can be engaged in the process of performance, rather than the consumption of the experience.
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