Drawing on the Warehouse and Jyll Bradley’s installation Pardes as site, both literal and poetic, oblique, open, filtered, framed is an invitation to gather and encounter space, light, sculpture and movement, through a series of shifting arrangements and relations between bodies and space. The work builds on an ongoing enquiry in Fisher’s practice which considers how we move through space and how spaces move us.

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The performance is presented as a continuation of research and a sharing of material developed by dance artist Laura Fisher, alongside collaborators Stephanie Arsoska, Hannah Draper, Sky Su and Kristin Wong, during a four-day process of attuning and responding to Pardes.

Audiences are also invited to encounter the work in process throughout the week as the artists work in the Warehouse from Tuesday 12.04.22 – Thursday 14.04.22, 2–5pm.

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oblique, open, filtered, framed is part of SPACE/FRAME, a two week residency awarded to Laura Fisher by Fruitmarket and Dance Base.

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In oblique, open, filtered, framed the dancers perform a series of scores and enquiries of the body, which take their impetus to move from the external visual, spacial and architectural environment of the installation and Warehouse space. The scores also draw upon the rich language of movement and geometries in the espalier structures and processes of apple growing which Pardes relates to, such as the practice of planting trees, which uses the body and number of strides to measure the distance between trees. The sharing or encounters with the process in rehearsal are seek to invite the attention of both dancer and audience to different places and ways of noticing and experiencing the installation and warehouse space.

 

The title oblique, open, filtered, framed is derived from civic architectural classifications for Types of View: open, oblique, framed & filtered, along with a fifth classification ‘Glimpsed’. Audiences are invited to move around the space or change their position in relation to the sculpture and performers, choosing how they view the work through the different modes of viewing Pardes creates in the space.

 

As part of the process Fisher invited circus artist and photographer Emily Nicholl, to join the dancers on Wednesday 13 April, experimenting with photography as an act of embodied and dynamic observation, documenting the rehearsals in process through, around and reflected in the installation Pardes. This collaboration between Fisher and Nicholl is titled ‘'Glimpsed: documenting the process of oblique, open, filtered, framed in process, through embodied photography’’, after the fifth Type of Viewing.

 

‘There is, as it were, an exploration of something unknown: “things” are found, which are seen everyday but which one never thought to look for. It is a search for oneself in the “thing”- a kind of communion with the environment’ Helio Oiticica

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