In the creation of site-sensitive live performances, my curiosity for the space expands into the search for (and creation of) an experience of further spaces that emerge when spaces communicate with living entities through sound and presence. In my work with spaces, I am concerned with authenticity. My work is always site-sensitive (dictionary). By this I imply that the creative process employs the senses when engaging with and learning from the site. Sometimes it is even possible to let the site determine the process and the result. Robert Irwin calls this site-conditioned art, as the artistic response “draws all its cues (reasons for being) from its surroundings” (Stiles & Selz, 2012, p.572). My process on site is a ‘listening into’ all the ways a human can listen. (Refer also to the Listening Into book and the dictionary)
Our surroundings affect us. The interpretation of these effects is, for me, related to sensing. As Susan Sontag writes in Against Interpretation, our senses must be reclaimed, “we must learn to see more, to hear more, to feel more” (Sontag, 2001, p.10). In the reading of a space, I engage in a great deal of dialogue with the space, its surroundings, its present history, its written history, and the stories of locals. My interpretation of this information is not intended to explain anything, however. Rather, I strive to reveal these elements through an artistic transformation that can be felt, sensed, and experienced by an audience-community. (see the text ephemeral communities and in the dictionary)
There is an ethical border that I am determined not to cross: I do not want to conquer a space. The space has a character that I am interested in and that I work with. The difficulties that spaces can bring to performances are my inspiration. I have no interest in rendering the space invisible, to conquer it sonically or to overpower it. To overcome the challenges of a space would be a loss.