Initially concerned with solo studies in colour, highlighting the virtuosty and athleticism of individual performers, I grew more focused on recreating the continuum of movement and power in dance and less on the accurate rendition of muscle and skin tone. In order to further emphasise this continuum, I took the radical decision to remove the 'distraction' of a colour palette and work in monochrome watercolour. For me, this was a game changer.

 

I love working in colour and watercolour has its own particular freedom.  It can be full of surprises and not always easy to control.  Herein lies its joy. I was concerned that I would find monochrome too restricting, however, I found the reverse was true. As it dries the surface becomes polished and stone-like - the points of contact or “edges” becoming almost metallic, the figures appearing in layers of opacity and transparency.  

 

Contact is a choreographic term, where two or more dancers are interconnected. Connectivity, interdependency and flow of energy between dancers in contact fascinates me and the points of contact and tension are key in my compositions.

I further control the composition by making my own stretcher frames and allowing the composition to flow around the edges. Like the dance itself, my works create a continuum of movement and power where everything is transitional.

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