PROCESS

Reading Kappenburg and her strategies of mapping screendance and looking at the works of Betty Edmund and Amy Greenfield in particular inspired me to think about my research and through screendance find ways in which I can make apparent or explore the entanglement of bodies that are human and non-human. As my research revolves around the intra-action between objects and the human body that result in ‘entangled entities’ I am curious to explore this through video.

​

Kappenburg talks about the body as site versus the body as a tool. The body as a site looks at the everyday movement vocabulary of the body as more or less conscious. And the body as a tool as practiced and established movements that represent something particular. In context to my research I want to appropriate the body as site by capturing the everyday movement vocabulary between the human body and objects or materials. The human body in some form or another is constantly engaging with objects- sometimes its subconscious and sometimes conscious. The conscious ways of moving/using/relating with objects become rehearsed sometimes and begin representing particular things. I am interested in combining these two aspects—the body that moves subconsciously with objects and the body that moves with objects through habit. I am thinking of combining this through a montage of everyday movements with objects or materials and choreographic movements that are interlaced. And through this interlacing I am interested in enhancing the entangled nature of object and human.

​

In Amy Greenfields video work Element, I particularly liked the intimacy that was made apparent between her body and mud. The close ups and the camera following her body’s movement brought me right in the middle of that sticky, mucky, intimate movement of her sliding, falling and moving in the wet mud. I seek to capture a similar intimacy that objects and humans share during their everyday movements. Whereas in Becky Edmunds work I liked the way some footages are found and some are choreographed and the juxtaposition of it is an interesting visual element for me. I am interested in capturing this intimacy and authenticity of a daily life action or ritual by juxtaposing the everyday and the enhanced that enhance the exchange, the intimacy.

​

Over the process of working on the film, I found the need to further dig into the foundation of the idea of capturing everyday movements by reflecting my inner world too. The concept of entanglement with objects further branched out into entanglements within. Time and the environment exist as it is with authentic actions being captured. And everyday movement most intimate and personal are actions or rituals of self-care. They take place in daily life and the materials and objects that participate in the process intertwine with my body. It enters my body and consumes it unlike other everyday movements that entail the use of other objects where the human is the consumer. With our boundaries blurred, the body becomes the site of the object to perform or act upon. The sense of consumption also links with the emotional space at this point in time—being consumed in a sense of inertia, incubation and the entangled state of mind.