Claire Zakiewicz is an inter-disciplinary artist working in both London and NYC. Zakiewicz’s main area of research has been the physical and metaphorical relationships between drawing and sound. Painting is the central part of her practice, but she also works with film, performance and sound. Zakiewicz examines the differences between internal and outward observation in painting. Her projects explore patterns with the starting point of the body, perception, intuition and attention. In her improvisational work, Zakiewicz uses the tensions between failure and resolution, using mistakes as material. Her work has been presented at international institutions such as Tate Tanks and Tate Britain (London), NOoSPHERE (NYC) and in offsite projects during the 57th and 58th Venice Biennale of Contemporary Art (respectively in 2017 and 2019) and the 16th Venice Architecture Biennale, in 2018. She currently writes for Creatrix Magazine, Hypocrite ReaderandArt511 Magazine, and her essay The Aesthetics of Failure is due to be published by Bloomsbury in Andy Hamilton's book The Aesthetics of Imperfection, in September, 2020. Zakiewicz was named one of New York's "Top Ten Artists Working Today" in an article by Art511 Magazine in January 2019.
Gerald Curtis is a London based artist working with performance, painting and photography. His projects are based on themes of failure, control and endurance. Graduating from the Performance Pathway at the Royal College of Art in 2017, Gerald has created a practice centred around public spaces, their use and importance. Recently, Gerald has been working with London Creative Network and Photofusion to develop projects using photography as a means to document works that have extended durations beyond conventional exhibition time frames. In particular, he is interested in looking at the process of walking and its uses in public space.
Habib William Kherbek is a writer, poet, journalist and artist. His novels include ‘Ecology of secrets’ (2013), ‘Ultralife’ (2016), ‘New Adventures’ (2020), and the forthcoming ‘Best Practices’ (2021). Kherbek’s journalism has been included in several publications including Flash Art, Berlin Artlink, Aqnb and Map Magazine. In his project ‘Retrodiction’ (released in 2016 by left gallery, Berlin), Kherbek created video poems based on images of ‘second-hand’ language that he encountered in Berlin, over the course of three months. Other poetry collections include Everyday Luxuries (2018) and 26Ideologies for Aspiring Ideologists (2018). His essay “Technofeudalism and the Tragedy of the Commons” (2016) appeared in the first issue of Doggerland’s journal, and he has contributed essays to the “Intersubjectivity” series from Sternberg Press. His journalism has appeared in the award-winning Block Magazine, Rhizome.org, Berlin Art Link, MAP, Flash Art, Spike Magazine, Sleek, Samizdat, AQNB and other publications. Kherbek is presently completing a research fellowship at the Critical Studies Department of the Sandberg Institute in Amsterdam.
Libby Heaneyis a British artist, based in London, who’s practice seeks to subvert the capitalist appropriation of technology, through image works, performances and virtual reality experiences. She uses tools like machine learning and quantum computing against their 'proper' use, to undo biases and to forge new expressions of collective identity. In her projects Heaney uses diverse media and modes like blurring, combining, remixing and weaving (derived from quantum physics) to unsettle or 'diffract' standard conceptions of 'truth'. From these modes emerge new forms that question the distinction between fake / real, visible / invisible, private / public, the individual / the collective, especially where those categories are mediated by technology. The works draw on a wide range of source material, spanning pop culture, politics, literature and beyond. Her projects speak to the entanglement of personal and machine agency. Heaney has exhibited her artwork in galleries and institutions in the UK (Tate Modern, ICA, V&A, Barbican, Somerset in London) and internationally in Aarhus (Denmark), Dublin, Barcelona and Lima. Heaney is currently a resident of Somerset House Studios.
Sophie Seita is an interdisciplinary artist, writer, and educator who works with text, sound and translation. Her practice is imbedded in queer-feminist politics and spans different media such as performance, poetry, installation and video. Seita is the author of Provisional Avant-Gardes(Stanford University Press, 2019) and most recently, My Little Enlightenment Plays (Pamenar Press, 2020), which she will present at the open studio event. My Little Enlightenment Plays(2020) is a mix of historical material with contemporary queer affect theory, the psychology of colour-symbolism and experimental dance, challenging the Enlightenment’s opposition of sentiment and rationality. Seita works internationally on various projects and has performed and presented her work in several places including New York, London, New Delhi, Chile and Amsterdam. She currently is an Assistant Professor at Boston University, co-organises the Sound/Text seminar at Harvard, and is on the faculty for a new MSt in Writing for Performance at Cambridge. Seita is also among the cohort of this year’s Constellations artist development programme organised by UP Projects and Flat Time House.
We are excited to announce that Claire Zakiewicz’s series of animated drawings will be featured in the two-day visual art and street food ART EAT Festival, located at the Ipswich Waterfront, England, from September 21-22, 2019. The festival will include a multi-disciplinary vocabulary of artists, working across all creative mediums, with a focus on primary sensations such as sight, sound and taste.
Zakiewicz’s symmetrical motions, which incorporate the techniques and styles of both stop-motion film and documentation, titled Resonance Image (2011), Spherical Symmetry (2019) and Collaborative Control (2016), examine the relationship between the “unresolved and perfected form,” and between the tangible and intangible interactions. Zakiewicz is interested in the way we learn to perceive form and composition when our comprehension is limited within a set of prescribed visual semiotics. She asks whether “performing drawing,” as a type of improvisation, can dissolve the boundaries of our “learned disposition,” and bring us back to an origin of sorts. Each animation re-considers the role of the “body” and the role of “form” as intertwining modalities that shape and navigate our perception of a tangible reality. In this series, the artist continues her examination with the pictorialization of space and the intimacy of exchange. Her interest is predominantly also turned towards the observer, where she examines the process of reading shapes, using physiognomic perception, a process often governed by things that have the most significance to us, such as, faces, gravity (vertical and horizontal lines), circles and perspective lines.
“I've been exploring, deconstructing and reducing both the physical and conceptual elements of my earlier drawing, performance and sonic based practice into a vocabulary of signs, forms, actions, objects and symmetries,” says Zakiewicz. “We read shapes, lines and colours according to our physiognomic perception. This relates to our relationship with human faces and bodies alongside the objects and shapes in our physical world. For example vertical lines are translated as energetic and relating to cities or tall trees, horizontal lines are seen as calm and reference land or seascapes. We conceptualize circles as representing the cyclical patterns of life, and to the primordial forces that navigate the order and symmetry of the universe.”
For additional information contact email@example.com and the view this series of works visit www.clairezakiewicz.com
Salizzada Malipiero, San Marco
3209/A - 3160
ARTI3160 is excited to present SPHERICAL SYMMETRY, a three-day series of performances, video projections and an exhibition of drawings during the opening of the 76th Venice International Film Festival. Curated by Claire Zakiewicz and Laura Vattovaz, each performance will feature an inter-disciplinary dialogue and exchange between an international collective of artists; Jana Astanov (Poland), Katie Cercone (USA), Anita Cerpelloni (Italy), David Jason Williams (USA) and Claire Zakiewicz (UK).
SPHERICAL SYMMETRY examines traditional ideologies of cosmology, shamanic techniques, occult symbolism and traces early tribal archetypes alongside sacred geometry. Continuing Zakiewicz's investigations with conceptions of improvisation, each performance will indirectly ask: "how can we draw interesting parallels between the macro-languages of music and art over the centuries and the evolution of our understanding of the universe," & "can today’s artists be perceived as shamans possessing the power of accelerating humanity’s evolution in consciousness?” Zakiewicz says. "Our physicality is our cosmic home. Each line is drawn with attention to the body and to the drawing itself and our interactions outside of ourselves whether verbal or experiential, moment-to-moment.
Jana Astanov is a multidisciplinary artist, living in New York. Born in Poland she studied anthropology, philosophy and linguistics in France, and arts in the UK. Her work includes photography, poetry, performance, new media and installation. She describes her performance art practice as “mythology vs ideology” referring to her two main interests the political & economic foundations of our civilisation and mythological/ religious values. In her work she utilizes shamanic techniques, spiritual beliefs, dance movement derived from the Grotowski technique, she also merges poetry with performance practice and sound art. She published four collections of poetry: Antidivine (Undergroundbooks.org), Grimoire, Sublunar, and Birds of Equinox (Red Temple Press). She is a founder of Creatrix Magazine.
Katie Cercone “High Prieztezz Or Nah”is a visionary artist, scribe, prieztezz and spiritual gangsta hailing from the blessed coast. Cercone has performed or shown work in exhibitions at the Brooklyn Museum, Bronx Museum, Whitney Museum, Dallas Contemporary, Momenta Art, C24 Gallery, Changjiang Museum China, Dodge Gallery and Aljira Center for Contemporary Art. She has published critical writing in ART PAPERS, White Hot, Posture, Brooklyn Rail, Hysteria, Bitch Magazine, Utne Reader and N.Paradoxa. With her collective Go! Push Pops she was awarded the Culture Push Fellowship for Utopian Practice in 2014. Her work has been featured in Dazed, MILK, Interview, Japan Times, Huffington Post, ART 21, Hyperallergic, PAPER, Art Fag City, Washington Post, and Art Net TV among others. Cercone has curated shows for Momenta Art, KARST (UK), Cue Art Foundation and NurtureArt. She is co-leader of the queer, transnational feminist collective Go! Push Pops and creative director of ULTRACULTURAL OTHERS Urban Mystery Skool. Cercone was a 2015 National Endowment for the Arts Fellow for the U.S.-Japan Exchange Program in Tokyo (JUSFC).
Incroci di leggerezze, ink on Japanese paper, 70cm x 80cm, 2019
Anita Cerpelloni is an architect-artist-designer and the founder of ART3160, Venice. Cerpelloni studied traditional and experimental techniques including, printmaking, calligraphy, drawing techniques, engraving and painting. She further developed her skills while travelling in Japan where she absorbed ancient Japanese techniques giving new life to her artworks as well as sharing her knowledge through workshops in Venice. As a designer she was selected to exhibit her geometric paper lamps during the Venetian design week in 2018 and collaborated with glass artisans for the glass museum in Murano in 2016. Anita has been running Paper Project Venice since 2012, which puts 'nature' as a total reference to her professional and artistic activities.
For over twenty years, David Jason Williams a.k.a. U.N.D.A.K.O.V.A. (Universe. Naturally. Delivers. All. Knowledge. Of. Vitality. Automatically) has been awakening audiences with his special brand of insightful & knowledge infused hip hop. Urban monk and teaching artist, his seasoned background in yoga and meditation has allowed him to develop a yoga hip hop curriculum for urban youth through the non-profit BEAT GLOBAL. UNDAKOVA believes self-love and artistic expression are the ultimate tools for empowering communities.
Photo: Mark Edward Smith
Claire Zakiewicz is a British inter-disciplinary artist working across drawing, film, sound and performance. Zakiewicz’s practice explores the physical and metaphorical relationships between sound and drawing. It is a scientific and philosophical practice-based enquiry - thinking through making. Zakiewicz re-examines the pictorialization of space and the intimacy of exchange. Her animated films have been shown at Alive In the Universe for the 58th Venice Biennale, 2019 and at Tate Tanks and Tate Modern (London) in the exhibitions Tweet Me Up, and Label, 2012. Zakiewicz has exhibited regularly throughout the UK, USA, Italy and Norway and has produced and performed in numerous productions and international institutions including Resonance FM (UK); ARTI3160 (Venice, Italy); USF (Norway); Bill Young's Dance Studio (NYC); Mothership NYC; Last Frontier NYC and Itinerant Performance Arts Festival (NYC). Zakiewicz lives and works in London, UK and New York, United States. Zakiewicz writes for the publications Creatrix Magazine, Art511 Magazine and Hypocrite Reader.
Saturday 27 & Sunday 28, July, 2019
11:00am – 5:00pm
Claire Zakiewicz has been invited to undertake a one-week intensive residency at the Aldeburgh Beach “Lookout,” from July 22 - 28, 2019. Located in the English seaside town in Suffolk, the isolated tower provides a unique opportunity to engage with the iconic cultural landscape and surrounding waters.
Continuing her examination with “Imprecision: The Aesthetics of Failure,” Zakiewicz will develop a new body of work that combines elements from her breath drawings and observation series. Focusing on revealing the differences between internal and external observation, the artist will draw the same scene repeatedly, alternating from direct observation during daylight and blindfolded at night.
Zakiewicz says: “What is the difference between “internal” and “external” vision? I want to reduce drawing, at least for a while, to a minimal practice and explore modes of perception. My aim is to be present in search of a "timeless moment" (to paraphrase Caroline Wiseman, Director of the residency) and to examine my intuition and instincts with and without sight.”
Zakiewicz will also produce a video installation, to be projected on the “Lookout” tower as an extension of the site itself, and a series of interactive performances as live drawing experiments throughout the residency. For exhibition and performance details contact firstname.lastname@example.org
The Primacy of Movement
Evenings from July 22 - 28, 2019
"One, two, three, four’ the beats of Philip Glass’s opera Einstein on the Beach measure out time. Time is the heart beat of the universe, towards death, the nemesis of creativity."
What does it mean to be "alive"? Simple gestures such as intimacy, touch, movement and interaction are being navigated by a third hand today, an external interface, so, how do we understand this inherent complexity and the changing nature of "interactivity" and being “alive”?
Initiated from her participation in the exhibition Alive in the Universe,curated by Caroline Wisemen and David Baldry at the Palazzo Pesaro Parafava, Venice, for the 58th Venice Biennale, Zakiewicz will produce a series of film animations, performances and new paintings during her residency at the Aldeburgh Beach “Lookout,” from July 22 - 28, 2019. These works will examine the “Primacy of Movement” in relation to what the term “alive” means today and continue Zakiewicz's ongoing research with Imprecision: The Aesthetics of Failure.
Founded by curator Wiseman, the Aldeburgh Beach “Lookout” residency program will also become a nexus for the exchange of ideas for her project Alive in Universe. Wiseman says “Alive in the Universe was initiated to invite artists from around the world to produce a new body of work-whether through installation, performance or film- to express how it feels to be alive in the universe.”
Zakiewicz’s video’s will be projected on the beach look-out exterior from 8:30pm - 11:00pm throughout the evenings and an exhibition of new works will be on view Saturday July 27 & Sunday July 28, 2019 from 11:00am – 5:00pm.
May 10 - 30, 2019
Open by appointment or during the following events
Video projection (window) 8:00pm - 8:00am
Schedule of Events:
Preview and Performance
Friday May 10
1:30 - 2:30pm Dannie-Lu Carr and Claire Zakiewicz
Opening Reception and Performance
6:30 - 9:00pm
Japanese Calligraphy Workshop Sunday May 12
9am - 4pm
Anita Cerpelloni and Claire Zakiewicz
Wednesday May 15
7:00 - 8:00pm
Paul Morgan and Claire Zakiewicz
Closing Reception and Performance
Thursday May 30
7:00 - 9:00pm Hector Canonge and Claire Zakiewicz
3209/A - 3160
ARTI3160 Gallery presents IMPRECISION: The Aesthetics of Failure featuring new works by Claire Zakiewicz. Please join the artist for the closing reception and a series of performances with accompanying artists including, Hector Canonge, on Thursday May 30, 2019.
IMPRECISION: The Aesthetics of Failure examines the tensions between failure and perfection: the techniques, limitations and the implications. "In my drawings, I've noticed that aiming for something ugly can produce beauty. Failure creates new pathways; it disrupts prescribed patterns," says Zakiewicz. "Drawing blindfolded with one’s attention on something other than the drawing, almost, always produces a quality of line, unity and balance of shapes - even - or more prominently, as control moves further away."
Zakiewicz asks: What is failure? How does failure relate to imperfection? We often think of failure as the opposite of success, however, in many ways, failure can be associated with eliminating expectation or a state of not "consciously" aiming for pure perfection. Embracing "failure" per se can often lead to a more balanced symmetry. So, is failure the resolution?
Alongside Zakiewicz's solo exhibition, a selection of her video works are featured in Alive In the Universe curated by Caroline Wiseman and David Baldry at the Palazzo Pesaro Parafava, Venice. The exhibition includes artists from varying disciplines such as Sarah Lucas, Julian Simmons, Maggi Hambling and Eileen Haring Woods. For more information click here.
A detailed narration on Zakiewicz's experience in Venice has been published in the form of diary entries in Creatrix and ART511 magazine. To follow the artist visit here.
It comes as a surprise at first that visual artist, Claire Zakiewicz, does not make art. She prefers to label her creative work as a practice in listening, learning and observing.
Claire and her art reside in a world called spatialised time - a wonderful place where shapes of sound, dance and drawing are related back to the material world we live in. This world exists in the crossroad between two chief species of time. Intellectual time is a purposeful sequencing of parts or events and is, therefore, affiliated with ideas composition and product. Real time, familial to ideas of improvisation and process, is the experience of these sequenced parts.
So in the land of spatialised time, Claire’s artistic house is located in a town called ‘perspectives in motion’ where the artistic system adopts a temporal focus attributable to Claire’s interest in the philosophy of the two species of time mentioned above.
In the course of one prickly affair, Claire found that the paintbrushes she was using were far to bristly and produced scanty lines - this effect was far from what she had envisaged. What does a relationship with failure look like? There are different shades of failure. Technical failure, like the brushes malfunctioning, and feeling of failure - a sense of dissatisfaction. Nonetheless, like all relationships, this one is creative. One create’s a space wherein to exist with the failure which, according to Murphy’s law, will inevitably happen.
What is worth mentioning is that failure has an important role in the element of duration. Claire resolved to refer to the whiskery brushstrokes - the technical failure - as a symbol of her emotions to the corporate shells of skyscrapers that characterised her first few weeks in New York.
Overthinking is dangerous. Claire’s approach to colour is spontaneous and usually involves picking quickly, or even asking friends to pick. Improvisation is a means of surrender, and energy is reserved for the act of becoming a character - becoming a paintbrush, for example.
Performing brush strokes is a humanistic act - it is rooted in the body.
“Follow a set of patterns, rather than have expectations”, says Claire. She finds pleasure in the surprise outcome and this is reinforced by experiments such as painting in the dark with a cellist playing in the room, or painting blindfolded among dancers and improvising poets, or painting her bear feet and dancing on paper.
Perhaps the wall between life and art crumbles when you don’t think too much. This involves a level of trust in the idea that the body knows more than the brain.
Maybe this is the big question of process : where is the end?
Then follows, when is it? What is it? Is there an end? Or must we accept the perpetual motion in life and art? Surely, we must all take note from Leonardo Di Vinci’s view that a work of art is never finished, it is abandoned.
Claire values the creative process rather than product; however, product - which connotes "finished” – is an essential part of the process. I think it is about realising the symbiosis between process and product - that the product is not the be all and end all, the process is not a smooth ride altogether.
Failure must become a friend if the artist wishes to make beauty alive and tangible in the moment.
ARTism 3160 is pleased to present Perspectives in Motion by Claire Zakiewicz to be opened on September 15, 2018. The exhibition will re-address ideas of “failure” and the conceptions of “the imperfect” within the discipline of drawing.
“What is the balance between the unresolved and the perfected form? How do we know when a work is finished? In many ways, it’s a mediumistic act that must then be completed by the viewer. The finished paintings have space to somehow “finish themselves,” Zakiewicz says.
Often drawing with her eyes closed, Zakiewicz’s practice becomes a series of meditations in space. Employing gestural drawing in response to phenomena in the surrounding world such as atmosphere, color and sound, the drawings question the boundaries between abstraction and figuration, disruption and unity, and the ideology of “freedom” alongside self-imposed constraints.
Zakiewicz’s examines the phenomenology and architecture of drawing. In this particular series Perspectives in Motion, the works reveal a personal language of spontaneous mark making and simple structural motifs that examine historical referents from Surrealism’s automatic drawings and writings, action painting from the Abstract Expressionists and Japanese Calligraphy.
a collaborative live act organized by Claire Zakiewicz featuring the following artists:
Mariana Alviarez - Dance
Marcus Cummins - Saxophone
Aaron Moore - Percussion
Lenna M Pierce - Cello and Voice
Claire Zakiewicz - Live Drawing
Venezuelan artist, Mariana Alviarez is based between New York and Buenos Aires. She is a dancer, actress, performer, dance educator, choreographer and researcher. She has been working with several dance and drama companies, in both multimedia projects and films. With a BA in International Studies, she aims to create spaces for the development of the performing arts, facilitating exchanges between anthropology, folklore, international culture and social studies. She has performed her own projects in Venezuela, USA, Argentina, Chile, Perú, Ecuador, and Spain.
British saxophonist Marcus Cummins has been associated with the UK free and improvised music scene since the early 90's. He has worked extensively as a solo artist, in duo's and larger bands but is perhaps best known internationally for his involvement in Trevor Watts' 'Celebration Band'. Marcus then studied music at Leeds City College of Music and Dartington College of Arts. During this time studying primarily jazz and Indian music (with the council of many masters such as Bobby Wellins; Evan Parker; Paul Dunmall and Dharambir Singh) he developed a personal style unlike that of any of his contemporaries.
Aaron Moore is an Englishman residing in Brooklyn, New York and is a founding member of the English experimental group Volcano The Bear, formed in 1995. Primarily a drummer he generally considers any instrument or object playable in one way or another. Moore's current projects include Brooklyn-based group Gospel of Mars and a duo project with Norwegian Erik K Skodvin.
Lenna M Pierce (AKA Meaner Pencil) is a cellist, vocalist, memoirist, and music reviewer who has performed in the filthiest subway stations of New York City as well as at medieval French churches and turn of the century Swiss theaters, house shows in Paris, Barcelona and Berlin, and artist co-ops in Lincoln Nebraska.
Claire Zakiewicz is a British born multi-media artist. Her ongoing research is focused towards examining the physical and metaphorical relationships between sound and drawing. This research has been a scientific and philosophical practice-based enquiry - thinking through making. Her animated films have been shown at Tate Tanks and Tate Modern (London) for the exhibitions Tweet Me Up and Label curated by Tracey Moberly. She has exhibited regularly throughout the UK, USA, Italy and Norway and has produced and performed in numerous productions and international institutions including, Resonance FM (UK), ARTIsm3160 (Venice, Italy), USF (Norway), Bill Young's Dance Studio (NYC), Mothership NYC, Last Frontier NYC, Itinerant Performance Arts Festival (NYC). Zakiewicz studied Fine Art at Chelsea College of Art, London and Anglia Polytechnic University, Cambridge, before completing a research-based MFA at Sir John Cass School of Art, London. This research examined how the body experiences the world through the study of our perceptions, and how we conceptualize objects, frames, repetition and embodied patterns.
"Find in yourself those human things which are universal."
Out of the Mothership is an exhibition that presents British born artist Claire Zakiewicz’s ongoing research into the physical and metaphorical relationships between sound and drawing. This research has been a scientific and philosophical practice based enquiry - thinking through making.
Zakiewicz is interested in the way we begin to perceive form and shapes when our comprehension is limited by a set of prescribed visual semiotics. She asks how “performing drawing,” affects the body and the intimacy of exchange.
For this series, the artist collaborated with musician and Astrophysicist Gavin Starks who composed a hand written letter for the artist at the beginning of 2017. The letter, intimate yet philosophical in nature, discussed Starks ongoing research into combining sound and cosmology, as a new cultural language.
Starks' interest in modes of perception and networked thinking alongside Zakiewicz‘s enquiry into the phenomenology of perception, dance, gesture and observation is the focus. Starks says: “For me, music, like mathematics, is a non-verbal language. It is experiential". He asks whether our current concerns in astrophysics - for dimensionality, curvature, gravitation, symmetry, spin and manifold mirror those in the arts - leading him to questions such as: "is there a musical equivalent to the CURVATURE of space-time?"
“We can draw interesting parallels between the macro-languages of music and painting over the centuries,” Zakiewicz writes. “And the evolution of our understanding of the universe. Our physicality is our cosmic, home. Each line drawn with attention to the body and to the drawing itself and our interactions outside of ourselves whether verbal or experiential, moment to moment.”
"Find in yourself those human things which are universal."
- Sanford Meisner
Out of the Mothership is an exhibition that presents British born artist Claire Zakiewicz’s ongoing research into the phenomenology of drawing. Over the past five years Zakiewicz has undertaken numerous residencies in New York, Norway and London, where she has been collaborating with composers, physicists and other thinkers and makers to produce a series of performances and drawings.
This particular series will re-examine the pictorialization of space and the intimacy of exchange - whether through gesture, sound or drawing. Zakiewicz asks how “performing drawing,” affects the body and our experience of the tangible and intangible objects in time and space. This is Zakiewicz’s first solo show in Italy, which will take place during La Biennale di Venzia. Her previous exhibitions and performances include Tate Tanks (UK), Tate Modern (UK), Resonance FM (UK), USF (Norway), Bill Young’s Dance Studio (NYC).
Tourette Syndrome is a series of drawings inspired by Zakiewicz's interest in exploring the brain's response to stimuli and exploring the various filters or lack of filters and control we have over our actions
Collaborative Control with Dance and Drawing Created during Bill Young Dance residency, 2016
The performative aspect of my work, where I explore intuition, improvisation, spontaneous gesture, chance and many other things is possibly more physiological than conceptual.
As part of Zakiewicz's residency at Bill Young Dance studios in New York, she collaborated with well-known dancers and musicians including Anna Chirescu, who was trained in classical dance at the Conservatory of Paris before joining the Conservatoire National superieur de Musique et de Danse de Paris (CNSMDP), Pierre Guilbault, who has a background in ballet and contemporary dance and New York based singer and cellist Lenna Pierce.
Lenna Pierce - Cello and Voice
Anna Chirescu - dance
Pierre Guilbault - dance
Claire Zakiewicz - drawing
This particular series titled Collaborative Control examines the spatialization of time, body memory and colour theory. The temporal aspect of these works, performed in real time, as one continuous motion, exposed the various distinctions between conceptual time and real time.
Things to Remember is a film of subtly threaded scenes, using moments and perspectives from the writer’s life. The film acts as a reminder that one tiny moment in time can represent truth and lies, tenderness and abuse, connection and genuine misunderstandings, determining who we ultimately become in order to make sense and survive.
Claire Zakiewicz works with the Norwegian-based British composer and vocalist Alwynne Pritchard
In these performances, Zakiewicz worked with the Norwegian-based British composer and vocalist Alwynne Pritchard to explore possible relationships between extended vocalised sounds and drawing in live performance.
Over extended periods Zakiewicz works into the drawing using various methods relating to the spacialization of time.