"The first step of technique is separation."
"The slower you go the deeper you get."
A moment into our journey as we travel further within Mary Overlie's Six Viewpoints Practice Manual.
Of the six materials (space, shape, time, emotion, movement, story), we have documented a foray into the world of shape.
Note: We were going to share a photo from each step of our shape exploration, but the documentation of innocently working brains observing and constructing in response proved to be of equal value as the shapes themselves, so the long-form is included.
Under the bridge we shape.
Next to the river we shape.
Stories popping up out of thee bends of our arms and fresher air on our faces.
Actively occupying stillness.
"One performer moves into a shape and holds the shape until the second performer can create their own. When the second shape has been formed both performers should pause in the shapes to allow enough time for both parties to visually comprehend their own shape, the other shape, and the conversation between them. The shapes should be of simple construction. The performers should be encouraged to move their heads, even though it may distort the shape, in order to facilitate maximum observation."
Beginning with the experience of a shape, no regard for beauty. Add a shape--the visuality of the body. Here I let my body be seen by the other shape and by me--too consumed in learning the art of observation to trouble myself with the conflict of being watched.
Second Practice: Temples
"Focus on shapes to form structure out of two bodies. Both participants should follow the same move-stop timing, as in Shape 1-1. The difference is subtle but important. Shape 1-1 is focused on observation and Temples is focused on building shapes in partnership."
Then the relationship of shapes.
Her + Her = a bigger There.
Releasing the grip on WHAT AM I FEELING
WHAT ARE WE MAKING.
Looking pausing looking pausing looking, not for eyes but for what is in stillness.
Third Practice: Unison Shape
"The leader is the person who is farthest forward in the direction that group is facing. Leadership changes when the group turns to face a different direction. If the group splits because of confusion allow separate parts to work for a while and recombine if they way to...The objective is to copy the movement as closely as possible. As the practice evolves, any "mistakes" should be integrated into a cohesive whole that approximates the tone of the leader as closely as possible."
Finally the spontaneous co-composition of shape, maybe what you would call a morphing PICTURE.
good to have done it. good to have done it outside. good to lose the studio frame. good to be side-eyed. good to be benched. good to handprint pine needle carnage. good to aid the paint chipping. good to focus on rust. good to let the wind be the mind behind the moving. good to be sun-loosened, sun-loose. good to be beside a pile of rocks. good to see symbols nowhere. good to consider the gnarlcragcrunch of branches overhead. good to know blue is always involved. good to study, to study the body in unempty space. good to note the tugboat. good to imagine possible horror film scenes shot here. good to leave words til last, bubbles puckering on the lip of a tide. see the bridge: see the point (period).
Give me months of this. Give me time to discover the shape of the individual and its expression echoed in the collection of individuals.
Now: Feeling these steps of the handbook grow organically out of one another.
Now: My thoughts are like blocks, not threads, presenting themselves in that