Fine lines

Life-chang­ing mo­ments have in­formed the tenor of Camie Lyons’ new show that dis­plays a loos­en­ing of her sig­na­ture lyrical forms.

Belle - - Who Right N Ow -

WHAT WAS THE IN­SPI­RA­TION FOR YOUR NEW WORK AND EX­HI­BI­TION 'UN­TETH­ERED'? ‘Un­teth­ered’ is an ex­ten­sion of my prac­tice, but there has been a very de­lib­er­ate shift. I wanted to loosen up, feel un­shack­led and make more ex­ploratory forms. To let the lines and ideas run from me. To en­ter a new space. THE TI­TLE SUG­GESTS A SENSE OF FREE­DOM DID YOU FEEL THAT? Now I’m at the other end of mak­ing this show, yes, I de nitely feel a new free­dom, and that’s great. But this work was made dur­ing a time of huge in­ter­nal up­heaval in my life. I felt I was freefalling and out of con­trol and that can be both ter­ri­fy­ing and lib­er­at­ing. I think I’ve found a new courage dur­ing the mak­ing of this body of work. YOU ARE BRING­ING WIS­DOM AND NEW EM­PA­THY TO THIS WORK. CAN YOU DIS­CUSS THAT? Life throws curve­balls when you least need it, those hard balls hit me right in the gut and left me gasp­ing. If you just carry on and con­tinue, you learn a new re­silience and calm. The work is about this, with ti­tles such as Bit­ter Pills and Spoon­fuls of Sugar. 'UN­TETH­ERED' G IVES Y OU T HE O PPORTUNITY T O S HOW M ORE O F YOUR UN­DER­BELLY I S THAT A VUL­NER­A­BIL­ITY? Vul­ner­a­bil­ity, raw, yes. Beauty has al­ways been im­por­tant to me when mak­ing, be­cause I search for beauty to keep balanced, upright and mov­ing for­ward. I no­tice mo­ments like a beau­ti­ful un­con­scious ges­ture or how the sun can make a small head glow. That beauty seems to have res­onated with my au­di­ence as I’ve been do­ing this now for more than 15 years. So, I am older, not as young and perky and this work re ects this. The line has re­laxed in places, stretched in oth­ers, oozed over blocks, tied it­self in knots. It’s a dif­fer­ent kind of beauty, not snap­shot per­fect, not as poised – I hope more deeply beau­ti­ful in its gnarli­ness and com­plex­ity. Yes I’m de nitely show­ing my un­der­belly in this and it’s soft from births and a thou­sand fam­ily meals and from howl­ing with loss and belly-laugh­ing with joy. YOUR BACK­GROUND AS A DANCER HAS SHAPED YOUR WORK AND DANCE TER­MI­NOL­OGY FEA­TURES IN DE­SCRIP­TIONS OF YOUR

SCULP­TURE WAS THAT A NAT­U­RAL PRO­GRES­SION OF MOV­ING FROM DANCE INTO MAK­ING? It’s been a very nat­u­ral pro­gres­sion. I’ve been blessed to move from one pas­sion to an­other and not no­tice or mourn the tran­si­tion. Now the dance hap­pens out­side my body – but the pro­cesses are very sim­i­lar. I still work phys­i­cally hard, I still need dis­ci­pline to lim­ber up and move and make each day. I’m still cre­at­ing mus­cu­lar pat­terns and us­ing chore­o­graphic tools such as rep­e­ti­tion and phases, so yes, very in­formed by my past as a dancer. IS THERE A MEDIUM THAT YOU HAVEN’T EX­PLORED THAT YOU ARE KEEN TO WORK WITH? I’m soon head­ing off for my res­i­dency at Hill End – a month of iso­la­tion with a house and stu­dio to my­self. I want to get dirty in clay and paint and earth and pig­ment. Watch this space! WHAT DO YOU NEED TO S TAY CREATIVE AND WORK SUC­CESS­FULLY? Happy boys [Camie has two sons, To­dra and Oskar, and hus­band Sverker], big dog, a good meal at the end of the day. Eas­ier said than done but that's it re­ally.

Newspapers in English

Newspapers from Australia

© PressReader. All rights reserved.