Category: Collaboration

projects: Murphy/Lachow

Megan Murphy /Murphy/lachow Company

 

Falling and Being Caught. (2016)

 

Dancer and movement collaborator
Performances:
Northwest New Works Festival, On The Boards, Seattle WA

 

 

The Man Who Can Forget Anything. (2013-14)

 

Dancer and movement collaborator
Performances:
On The Boards, Seattle WA (premier)

 

projects: Tahni Holt

Tahni Holt 

 

Duet Love (2013-2015)

 

Dancer and movement collaborator
Performances:
PICA TBA, Imago Theatre, Portland OR (premier)
Diverse Works, Houston TX
Velocity Dance Center, Seattle WA

 

photo Lynn Lang

The NM Urn (2012)

(2012) Cardboard sculpture for gallery installation, with New Mystics collective

 

Created as a memory of the past, this urn is entirely made from cardboard. Standing nearly five feet tall, this work was created for a gallery installation by the New Mystics at Seattle Central College. Photos highlight my contributions.

 

Then I burned the urn, I plan to place the collected ashes into a small ceramic man urn.

Manifest Destiny’s Child (2012) film

(2012) Music Video, Corespondents, Seattle WA (Related to Mother… Film and Performance)

 

Music video created for the Corespondents and the performance of Mother for you I made this. Filmed and edited by Douglas Arney (of the Corespondents). Choreographed and performed by Ezra Dickinson. Music video features 14 versions of Ezra Dickinson and one that is not Ezra. The concept for this video is a remembrance for Ezra of growing up with a schizophrenic mother.

 

Please Don’t Touch.. (2011)

(2011) Performance. Commissioned by the Live At The Film Forum series. Seattle WA

 

Directed and developed by Actually Really (Ezra Dickinson and Paurl Walsh) 
Sound by Paurl Walsh
Video by Douglas Arney
Choreography/performance by Ezra Dickinson
Please Don’t Touch The Ballerina by Actually Really was the first stage in experimentation using motion sensors attached to the performer generating and modulating the sound for the performance in real time. The idea that we are playing with is filming a dancer improvising while having the motion sensors attached, capturing both movement and sound. Next the composer takes the footage of the dancer improvising and generating sound, and composes the sound by reorganizing the dancer’s movements. In the final stage the dancer learns the new composition by way of the reorganized and composed video footage. In this process we take the composer and turn him in to the choreographer, and take the choreographer and turn him in to the composer.
This work’s foundation is built on cycles. Each of the three main components has a repeated pattern built on the frame of a forty-eight minute performance. Actually Really is a collaboration formed by Paurl Walsh and Ezra Dickinson to explore new technology in performance and sound.

 

Please don’t touch the ballerina Press Review:

Seattle Times: Dance and wireless technology combine

 

Pride Parade Floats (2009-12)

(2009-12) Painting

 

I have had the pleasure of helping design and create four Seattle Pride Parade floats over the years. I very much enjoy how the collective power of a team can make big projects and ideas come to life really fast. These have been some of the most fun creative projects I have done, the delirium of building/painting all week and then all night before the day of the parade. Painting right up to the last moment as we are lining up for the parade, then partying our butts off during the parade is the best! To top it off, our first three floats won people’s choice award for Best Float. 

 

Gaywatch (2009)

 

Gay team (2010)

 

Ass Cream Truck (2011)

 

Gay Wettings (2012)

projects: Luke Sieczek

Luke Sieczek

 

Space, the air, the river, the leaf (2009)

 

Dancer and movement collaborator

 

Short film screenings:
Water Calling, Northwest Film Forum, Seattle WA

2X2 (2008)

2X2 Seattle Street Art Show (2008) group show, the Anne Bonny, Seattle

 

I quite like exquisite corpse style creative experiments. For this group show, the walls were covered in two foot by two foot masonite panels. The collection of artists had a month to come through the gallery and contribute to the panels as they saw fit. Once completed, the public for the opening and subsequent exhibition period could purchase the individual panels that caught their eye. At the end of the month all the sold panels were connected to the buyers and everyone was happy.

 

projects: Paris Hurley

Paris Hurley

 

Bridging Wounds (2008-09)

 

Dancer and co Choreographer 
Performances:
Live at The Film Forum, Northwest Film Forum, Seattle WA (premiere)
Open Floor Series, Henry Art Gallery, Seattle WA