Laressa Dickey

I’ll be working with somatic experiments in embryological time—using embryological theory (Blechschmidt) as a departure point for thinking about time, the development of form, formation—through the lens of movement. I’m interested in the morphological forces that form us and how they still work in our bodies; how can we trace this, over time? What if we are not just degenerating, but still becoming? This artistic research is the basis for a future performance work entitled Timebody.

I’m excited to have time to read, look, walk, think, draw, and to concentrate on new ideas in the quiet of winter at Saari.

Working methods: reading/writing, moving/improvising into movement ideas, editing small films, photo and sound documentation.

Bio:

Laressa Dickey’s artistic work lands in the fields of writing, movement/performance, and bodywork. She has published four books of poems including Bottomland, Roam, Twang, and Syncopations, as well as several chapbooks including A Piece of Information About His Invisibility. Together with sound artist Andrea Steves, Dickey published RADIO GRAVEYARD ORBIT (Sming Sming), a speculative artist’s book about space junk. Her collaborative installation with Ali Gharavi, How to Pass Time with No Reference, was included in the Bergen Assembly 2019. Along with Magdalena Freudenschuss, she was commissioned by Bergen Assembly to create a series of feminist essays on the politics of care, entitled: Re:assembling Emotional Labor: On the Politics of Care. Since 2005, she’s been using movement improvisation and performance to inform her writing practice, and vice versa. Language, image, gesture, movement: presence. Her bodywork is influenced by Biodynamic Craniosacral Therapy, Body Mind Centering studies, Amerta Movement and an attuned, empathetic imagination. She’s a MA candidate (2023) in New Performative Practices, Dept of Dance, Stockholm University of the Arts.