As a choreographer, performer, street artist, painter, ceramicist, animator, photographer and film maker I love to watch the world around me, each of its movements be them small or large informs and inspires me.
The discipline and compulsive work ethic that my schizophrenic mother instilled in me from a young age has given me a unique and possessed outlook on creation and performance. Because of my mother, I understand the strength that is held in honesty, I know the love that is vulnerability, and I crave the chance to give these truths to the audience each time I show my work.
I have a strong appetite for social justice and for learning through art to create new ideas and questions for my self and my audiences. In my exploration, each medium of artistic expression compliments and informs the others, combining these mediums creates stronger more integrated ideas. Collaboration is a huge part of my artistic process.
I want to present a departure from the known through my art and show by example that our world is constantly changing, our ideas of performance and how it can happen should be changing as well. This boils down to happiness, my life full of artistic creation, is overflowing with happiness.
Ezra Dickinson’s original work in choreography, film and movement installations have been on display at SAM, On the Boards, TEDX Rainier, Seattle City Hall, Seattle International Film Festival, Milwaukee Film Festival, AMFEST Russia, Jaipur International Film Festival, Shorts Premiere Chile, Mumbai Shorts International Film Festival, Next dance Cinema, Northwest New Works Festival, ACT Theater, Moore Inside Out, Heathrow Airport, Henry Art Gallery, 911 media arts center, Velocity’s Next Fest Northwest, Zocalo Mexico City, Spectrum Dance Theater, City Arts Genre Bender and The Northwest Film Forum as well as many others.
Along with being co-artistic director of The Offshore Project and Actually Really, Ezra is also a member of The New Mystics, HYPERNOVA, The Murphy Lachow Company, The Maureen Whiting Company, and Saint Genet.
Ezra Dickinson began dancing at the age of four, going on to study at Pacific Northwest Ballet for twelve years on full scholarship. Ezra earned his BFA in Dance with an emphasis in choreography from Cornish College of The Arts. While at Cornish, Ezra was the recipient of The Merce Cunningham Scholarship, The Kreielshimer Scholarship, and The President’s Scholarship in Dance. Velocity’s Made In Seattle program produced Ezra’s 2013 work Mother for you I made this, which continues to received widespread critical acclaim. Ezra’s newest performance gift for his mother entitled Psychic Radio Star, received NDP touring support and will be national touring in 2017-18.
There are some dancers you want to watch no matter what they are doing, Ezra Dickinson is one of them.
Seattle Weekly 2013
Memory in motion
Preview by Laura Dannan, The Top Things to See or Do in May 2013, Seattle Met
Dancer Ezra Dickinson stood out clearly, displaying an intuitive grasp of the strength and ability to yield that is required to move weightlessly.
Review by Ciara Mcormack, An Ode to Family Memory and Chekhov at OTB, Seattle Dances October 2014
Dickinson, at moments, resembles a fawn from an alien planet.
Review by Michael Upchurch, “Myth of Us”: dance-theater piece lets us become one with the animals, Seattle Times May 2008
Dickinson’s expressionistic articulation brought to mind images of the impassioned Vaslav Nijinsky, the great dancer from the early 1900s.
Review by Mary Murfin Bayley, Even dancing bears are just looking for love, Seattle Times May 2007
Throughout the process, he seems immersed in a deeply private rite, like some electro- Hindu deity with a highly exacting supplication to make.
Review by Michael Upchurch, Dance and wireless technology combine in ‘Actually Really’; Seattle Times March 2011
Dickinson is all smooth lines and silky lift as he goes through alternately slow-motion and rapid-slice paces.
Review by Michael Upchurch, Review: New series at Film Forum opens with multimedia ‘experiment’ of dance, film, more; Seattle Times September 2009