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GRISELDA HEALY/FIGURE IN MOTION

GRISELDA HEALY/FIGURE IN MOTION This project titled “Figure in Motion” explores ways to capture movement– spatial and temporal – and timed movement. I will be making a series of panel paintings that will present configurations of figure(s) in structured motion. The figures will be set in the context of New York City, which itself displays movement and stillness, dialectic reflected in the architecture that houses the figures and in the shifting patterns of the people who live here.

Details
GRISELDA HEALY/FIGURE IN MOTION In January 25, 2010 my proposed project titled “Figure in Motion” enabled me to become a recipient for a fiscal sponsorship with the New York Foundation of the Arts. I am in the process of working up a series of figure movement sequences; working from life with dancers as models; beginning with drawings, and small oil sketches followed by larger movement sequences using graphite and charcoal materials on horizontal scroll lengths of paper. The figures are dancers who work with the founder of Dance New Amsterdam (DNA), choreographer Laura de Vito. De Vito’s work and her dance company provide me with an array of visual figure motion possibilities that to my eye elegantly express the ideas I wish to convey; visual contemporary figure movement in the context of our time and place. For my figure configurations I choose specific sequences from De Vito’s work, movement and figure shapes that have been created and inspired by composers Philip Glass and Armand Armar. Once I have arrived at a series of successful sequential movements I will seek ways to set these figures in the context of specific architecture found in downtown Manhattan. Appropriately, these dancers come from various parts of the world, their global backgrounds representing the changing patterns of Manhattan’s people and, more broadly, this country. Furthermore, DNA is located at City Hall, where Chambers meets Centre Street. Here we find classical architecture --- powerful, magisterial, yet exuberant buildings. They project an aura of permanence, of timeless justice, wisdom, and truth, yet they house people who constantly move in all kinds of ways such that the buildings themselves ‘move’, entering time, as it were, as they take on new meaning and life. I am in the process of making several sets of connected panel paintings 84 inches in height; connected panels appropriate for gallery exhibitions. The panels can be exhibited in galleries or set independently for performance venues. I will seek venues appropriate for collaborative exhibition, dance and instrumental performance. DNA’s executive director Catherine Piela has agreed to provide me with an appropriate venue for the month of November 18th 2010 – January 3rd 2011. This exhibition will be presenting the project process; oil sketches, scroll drawings, and paintings.