{"id":3748,"date":"2012-04-10T21:52:25","date_gmt":"2012-04-11T02:52:25","guid":{"rendered":"http:\/\/fredhatt.com\/blog\/?p=3748"},"modified":"2014-12-15T00:13:46","modified_gmt":"2014-12-15T05:13:46","slug":"ritual-of-enchantment-human-clay","status":"publish","type":"post","link":"http:\/\/fredhatt.com\/blog\/2012\/04\/10\/ritual-of-enchantment-human-clay\/","title":{"rendered":"Ritual of Enchantment: Human Clay"},"content":{"rendered":"
\"\"<\/a>

Claire Elizabeth Barratt in Human Clay, a motion sculpture movement installation by Cilla Vee Life Arts, presented by Chashama, 2004, photo by Fred Hatt<\/p><\/div>\n

One of the most venerable functions of art is to transform the environment, to create a sacred space or a magical moment, to inspire the imagination or to open the mind to contemplate mysteries.\u00a0 This may be the impulse behind the painted caves of the Ice Age<\/a>, and it is why places to pray and places to play are often designed as majestic spaces, or filled with images or music, beautiful light, fine materials, costumed performers, ritualized actions, and sensual delights such as incense and candles.<\/p>\n

It is a common conceit of modern society to think we\u2019re past all that, or to segregate such things to churches and carnivals and festivals, to dismiss them as kid stuff or god stuff, therefore not real.\u00a0 The paradigm for the contemporary art gallery is the industrial space with plain white walls and bright track lighting, the better to display work that is formally reductionist, coldly conceptual, or ironic, and of course, always very, very expensive.<\/p>\n

Naturally \u00a0there\u2019s a counter-movement.\u00a0 I\u2019ve always been drawn to alternatives to the white box gallery, and have mostly shown work in unusual venues or as part of collaborative multimedia happenings.\u00a0 One of the organizers of such events is Claire Elizabeth Barratt<\/a>.\u00a0 She\u2019s a dancer, performance artist, and installation artist, but I\u2019d say her real art form is to bring diverse artists together in loose collaborative events that aim to create enchanted spaces.\u00a0 Under the banner of Cilla Vee – Life Arts<\/a>, she\u2019s produced countless events in a wide variety of environments.<\/p>\n

In June, 2004 and again in August, 2005, I created live ink drawings as part of Human Clay<\/em>, a production Claire calls a \u201cMotion Sculpture Movement Installation<\/a>\u201d, melding elements of visual art, dance, and live music, all improvised in the moment.\u00a0 It was what some people call an \u201cambient performance.\u201d \u00a0A variant on “ambient music<\/a>“, this term generally describes an event with a designated run time but no beginning, middle or end, so the audience can come and go at will, taking a momentary taste or settling into the experience for as long as they wish.<\/p>\n

Human Clay<\/em> was done in one of the 42nd<\/sup> Street storefront window spaces hosted by the NYC arts organization Chashama<\/a>.\u00a0 (I\u2019ve written previously about solo drawing performances I did in Chashama\u2019s windows<\/a>.)\u00a0 In this space, people could see the performance through the window from the public sidewalk, or they could come in and sit down on the opposite side of the stage, with the city street as backdrop.\u00a0 I believe the performance went on for four or five hours each time it was done.<\/p>\n

In this post I\u2019m presenting pictures of all the drawings I made during the 2004 and 2005 performances of Human Clay<\/em>, interspersed with photos of the 2004 performance that I took during breaks from drawing.<\/p>\n

\"\"<\/a>

Hisayasu Takashio, sculptor, in Human Clay, a motion sculpture movement installation by Cilla Vee Life Arts, presented by Chashama, 2004, photo by Fred Hatt<\/p><\/div>\n

Claire\u2019s description of Human Clay<\/em> calls it \u201ca constant shifting of landscapes composed of human, rope and twisted tree branch sculptures. The sculptor fervently constructs, molds and forms these elements in a race against time before they give in to gravity and gradually melt towards the ground.\u201d\u00a0 The sculptor, shown above, is Brooklyn-based\u00a0Hisayasu Takashio<\/a>.<\/p>\n

\"\"<\/a>

Fred Hatt drawing in Human Clay, a motion sculpture movement installation by Cilla Vee Life Arts, presented by Chashama, 2005, photo by Marc Dale<\/p><\/div>\n

While the sculptor was moving his dancers and objects into ever-shifting arrangements, I was using them as models for brush sketches.\u00a0 I had hung long strips of white paper throughout the interior of the space, and over the few hours that the performance went on, I recorded my impressions of the fleeting tableaux with my dancing brush. \u00a0As each pose was set, it would only hold for a few seconds before heaviness or the impulse to move caused the fragile structure to collapse, so I had to use my quick-drawing skills. \u00a0There’s a shot of me drawing, above, and the finished panel below. \u00a0As you can see, the drawings are quite large, so I could move the brush freely, and didn’t have to worry about crowding the paper too quickly.<\/p>\n

\"\"<\/a>

Drama, left panel, ink drawing by Fred Hatt from Human Clay performance, 2005<\/p><\/div>\n

Normally, a sculptor’s work is long-lasting, but this sculptor was working with living bodies and transient arrangements. \u00a0It was up to me to capture what I could, covering the walls with my linear impressions of the slow, shifting sands of the dance.<\/p>\n

\"\"<\/a>

Image from Human Clay, a motion sculpture movement installation by Cilla Vee Life Arts, presented by Chashama, 2004, photo by Fred Hatt<\/p><\/div>\n

The ritual of continuous, slow-paced resculpting was sustained by quiet, trancy music. \u00a0Marianne Giosa, a soulful trumpeter, multi-instrumentalist and dancer was performing for the 2004 version.<\/p>\n

\"\"<\/a>

Drama, right panel, ink drawing by Fred Hatt from Human Clay performance, 2005<\/p><\/div>\n

The elements the sculptor had to work with were ropes: tough but limp, branches: stiff and serpentine, and living human bodies that could combine all those qualities.<\/p>\n

\"\"<\/a>

Image from Human Clay, a motion sculpture movement installation by Cilla Vee Life Arts, presented by Chashama, 2004, photo by Fred Hatt<\/p><\/div>\n

The performances maintained the same pace and substance for the full duration – no development, no narrative. \u00a0But when I look at the drawings, I can’t help but see dramatic events. \u00a0There’s no clear plotline you can read. \u00a0It’s like looking at the illustrations to a story book in a language you don’t understand. \u00a0The imagination is stimulated to fill in the blanks.<\/p>\n

\"\"<\/a>

Youth, 2 panels, ink drawing by Fred Hatt from Human Clay performance, 2004<\/p><\/div>\n

The dancers were smeared with clay, which gave them a crusty patina like cracked plaster. \u00a0Some of Claire’s other Motion Sculpture events are wildly colorful. \u00a0This one is austere, but with a strong dose of nature’s chaotic textures.<\/p>\n

\"\"<\/a>

Image from Human Clay, a motion sculpture movement installation by Cilla Vee Life Arts, presented by Chashama, 2004, photo by Fred Hatt<\/p><\/div>\n

The sticks and ropes added simple but powerful recurring visual motifs to the ever-changing compositions. \u00a0Look at the crossed twisty branches above, and in the drawing below, and in the photo below that.<\/p>\n

\"\"<\/a>

Altar, ink drawing by Fred Hatt from Human Clay performance, 2005<\/p><\/div>\n

To me the branches evoke the writhing life force, and when the dancers are crossed and suspended and tangled up, my imagination sees sacrifice and struggle.<\/p>\n

\"\"<\/a>

Image from Human Clay, a motion sculpture movement installation by Cilla Vee Life Arts, presented by Chashama, 2004, photo by Fred Hatt<\/p><\/div>\n

I had never met the sculptor before these performances, but Claire must have known his wriggly lines and mine would work in harmony!<\/p>\n

\"\"<\/a>

Fire, ink drawing by Fred Hatt from Human Clay performance, 2005<\/p><\/div>\n

Always slow, as if in a trance, there is constant change. \u00a0A journey through a forest.<\/p>\n

\"\"<\/a>

Image from Human Clay, a motion sculpture movement installation by Cilla Vee Life Arts, presented by Chashama, 2004, photo by Fred Hatt<\/p><\/div>\n

Gestures and attitudes, all the expressions of the human body.<\/p>\n

\"\"<\/a>

Gesticulate, ink drawing by Fred Hatt from Human Clay performance, 2005<\/p><\/div>\n

Contact, sensuality, struggle.<\/p>\n

\"\"<\/a>

Image from Human Clay, a motion sculpture movement installation by Cilla Vee Life Arts, presented by Chashama, 2004, photo by Fred Hatt<\/p><\/div>\n

Spreading out, rising up, sinking down, curling inward.<\/p>\n

\"\"<\/a>

Relation, 3 panels, ink drawing by Fred Hatt from Human Clay performance, 2004<\/p><\/div>\n

Pose of a hero, a warrior.<\/p>\n

\"\"<\/a>

Image from Human Clay, a motion sculpture movement installation by Cilla Vee Life Arts, presented by Chashama, 2004, photo by Fred Hatt<\/p><\/div>\n

Strife, stress, conflict.<\/p>\n

\"\"<\/a>

Hitting, ink drawing by Fred Hatt from Human Clay performance, 2005<\/p><\/div>\n

Pulling apart and holding together.<\/p>\n

\"\"<\/a>

Image from Human Clay, a motion sculpture movement installation by Cilla Vee Life Arts, presented by Chashama, 2004, photo by Fred Hatt<\/p><\/div>\n

Stride, strive, strike.<\/p>\n

\"\"<\/a>

Arise, ink drawing by Fred Hatt from Human Clay performance, 2005<\/p><\/div>\n

Angle, angel, anger, danger.<\/p>\n

\"\"<\/a>

Image from Human Clay, a motion sculpture movement installation by Cilla Vee Life Arts, presented by Chashama, 2004, photo by Fred Hatt<\/p><\/div>\n

Arise, arouse, arrows, errors.<\/p>\n

\"\"<\/a>

Victory, 3 panels, ink drawing by Fred Hatt from Human Clay performance, 2004<\/p><\/div>\n

Breathe, bathe, incline, align.<\/p>\n

\"\"<\/a>

Image from Human Clay, a motion sculpture movement installation by Cilla Vee Life Arts, presented by Chashama, 2004, photo by Fred Hatt<\/p><\/div>\n

Allay, ally, alloy.<\/p>\n

\"\"<\/a>

Dance, ink drawing by Fred Hatt from Human Clay performance, 2005<\/p><\/div>\n

In balance, imbalance.<\/p>\n

\"\"<\/a>

Image from Human Clay, a motion sculpture movement installation by Cilla Vee Life Arts, presented by Chashama, 2004, photo by Fred Hatt<\/p><\/div>\n

Every character finds its extreme expression, and its norm.<\/p>\n

\"\"<\/a>

Individuation, left panel, ink drawing by Fred Hatt from Human Clay performance, 2005<\/p><\/div>\n

Keep the clay wet, to keep it supple.<\/p>\n

\"\"<\/a>

Image from Human Clay, a motion sculpture movement installation by Cilla Vee Life Arts, presented by Chashama, 2004, photo by Fred Hatt<\/p><\/div>\n

Curl, curve, curse, cure.<\/p>\n

\"\"<\/a>

Individuation, right panel, ink drawing by Fred Hatt from Human Clay performance, 2005<\/p><\/div>\n

Everything tends to come to rest.<\/p>\n

\"\"<\/a>

Image from Human Clay, a motion sculpture movement installation by Cilla Vee Life Arts, presented by Chashama, 2004, photo by Fred Hatt<\/p><\/div>\n

Every body plays many roles as the endless dance goes on.<\/p>\n

\"\"<\/a>

Fold, 2 panels, ink drawing by Fred Hatt from Human Clay performance, 2004<\/p><\/div>\n

We are the stuff of stars and of earth. \u00a0We shine and we sink down, and new life is always emerging from death.<\/p>\n

\"\"<\/a>

Image from Human Clay, a motion sculpture movement installation by Cilla Vee Life Arts, presented by Chashama, 2004, photo by Fred Hatto<\/p><\/div>\n

This ritual has no story, no structure, no destination. \u00a0It goes on and on, and when the time comes, it ends. \u00a0In the meantime, it evokes every quality of life, but there is no definitive meaning. \u00a0This is my experience of this piece, from my viewpoint as a person who looks and loves and draws. \u00a0I’m sure Claire, the sculptor, the dancers, and the musicians all have their own rich and very personal experience of the piece.<\/p>\n

\"\"<\/a>

Encounter, 2 horizontal panels joined, ink drawing by Fred Hatt from Human Clay performance, 2004<\/p><\/div>\n

I wonder how the audience experienced it. \u00a0I imagine there was quite a range, from the passerby who thinks “Look at the weirdos” to the person who gets sucked into the trance and comes in to sit rapt for an hour or more. \u00a0As for me, I want to do more things like this.<\/p>\n

\"\"<\/a>

Audience on the street watching Human Clay, a motion sculpture movement installation by Cilla Vee Life Arts, presented by Chashama, 2004, photo by Fred Hatt<\/p><\/div>\n

Here are the credits for the performance: \u00a0Human Clay<\/em> with sculptor Hisayasu Takashio, action gesture drawing by Fred Hatt, sound by Marianne Giosa, Judith Berkson and\/or Sabine Arnaud, presented at Chashama 42nd Street Storefront, NYC, June 2004 & August 2005. \u00a0Dancers in 2004 (those pictured in these photos) were Claire Elizabeth Barratt, Pedro Jimenez, Jill Frere, and Kazu Kulken. \u00a0Dancers in 2005 were Claire Elizabeth Barratt, Maria Pirone, Jill Frere, and Judy Canestrelli.<\/p>\n

The drawings from 2004 are sumi ink on paper 36″ wide, varying lengths. \u00a0The 2005 drawings are sumi ink on paper 48″ wide, also varying lengths.<\/p>\n

See video excerpts from these performances here.<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

One of the most venerable functions of art is to transform the environment, to create a sacred space or a magical moment, to inspire the imagination or to open the mind to contemplate mysteries.\u00a0 This may be the impulse behind the painted caves of the Ice Age, and it is why places to pray and […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[36,186,265],"tags":[133,23,37,171,140,40,269,95,47,17,141,41,24,270,82,21,62,102,96],"class_list":["post-3748","post","type-post","status-publish","format-standard","hentry","category-dance","category-movement-drawing-performance-collaboration","category-my-past-events","tag-art-modeling","tag-bodypaint","tag-butoh","tag-chashama","tag-claire-elizabeth-barratt","tag-collaborations","tag-dance","tag-exhibits","tag-experimental-performance","tag-figures","tag-hisayasu-takashio","tag-ink-brush","tag-installation","tag-movement-drawing","tag-nyc","tag-process","tag-sculpture","tag-shows","tag-sketch"],"yoast_head":"\nRitual of Enchantment: Human Clay - 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