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Necromancer, Ian Wilson + Justine Cooper
What role does place play in your work?
PLACE ~ architecture, history, memory, character, shelter, embrace. Place and body meeting feels like a duet. As the two things meet the exchange will always shimmy alive a third thing~ newness, surprise & creative treasure that might not otherwise emerge.
PLACE ~ architecture, history, memory, character, shelter, embrace. Place and body meeting feels like a duet. As the two things meet the exchange will always shimmy alive a third thing~ newness, surprise & creative treasure that might not otherwise emerge.
I most enjoy when the creation process has time to come into being within the space that it will be performed as each place has a particular character/ energy signature and when you have time to know a a place intimately it shapes the work so the space is invited to become visible, not just as host but as companion.
Who or what are your biggest influences as an artist?
Punk Methodology, Sculpture, Knee High Theatre, Collage, Robert lepage, Ritual, Deborah Hay, Da Da Absurdity, Pina Bausch, Myth, David Lynch, Operatic Minimalism and light.
How do you approach collaboration in your practice?
I see collaboration as ritual – a process of listening, exchanging, and transforming. Finding the way to allow process to be a map of possibilities whilst being open and brave enough to allow adaption & new findings through the moment to moment unfolding exchange.
What’s a place or moment that has shaped who you are today?
As a lover of the art form of collage I always find narrowing the question to a single moment tricky. Instead, I think of every place, moment & person along the way like water shaping rock. Specific places like Japan, NZ, Eastern Europe seem to have coloured a kind of theatricality that I lean into but probably working with Meryl Tankards Australian Dance Theatre as a young dance artist was one of the deep formative influences. I was introduced to Yoga, which became a companion of support through the next twenty-five years and because Meryl Tankard worked as a soloist with Pina Bausch the creativity of the work had a European dance theatre feeling and each work so incredibly different. I think this influence inspired my interest in working with other art forms as a way of reinventing and continually keeping interested in my own field of movement.
Can you describe what you’re working on during your time in the studio?
I’m involved in NECROMANCER in the role of movement director. It’s a new sound work composed by Ian Wilson and is a sonic exorcism inspired by a series of photographs by Akihiko OKAMURA around Northern Ireland’s the Troubles.
At the moment I’m creating five masks from foraged nature and found object as a starting point for the visual feeling of the piece. The studio time will be focused on creating a movement score for the 4 musicians based on tribal patterning, repeated motives, gesture & ritual. Anchors of intention are clearing, metaphorphosis and primal re-enchantment. I'm looking forward to the great experiment of finding a way that can allow the musicians to play, read musical score whilst holding the embodiment as a parallel communication network.
To book Necromancer For Uillinn Dance Season 2025
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