By experimenting with aleatoric processes, Andrew Wass finds that movement reveals an inherent awkwardness, a humor that echoes our own vulnerabilities. He formalizes the coincidental and emphasizes the conscious processes of composition that are the generative source of much of his works. Influenced heavily by his undergraduate studies of Biochemistry at U.C. San Diego, Andrew works by creating a defined, almost crystalline palette in order to generate a myriad of possibilities. The possibilities are reduced and concentrated in the moments of execution and reception. A member of the performance groups Non Fiction and Lower Left he graduated from the MA program of Solo/Dance/Authorship at the Hochschulübergreifendes Zentrum für Tanz in Berlin in 2013.
Kelly Dalrymple-Wass creates performances, paintings, drawings and films. With a subtle minimalistic approach, Dalrymple-Wass seduces the viewer into a world of ongoing equilibrium and confuses the intervals that articulate the stream of daily events. Moments are deconstructed to the extent that meaning is shifted and becomes multifaceted. By applying abstraction, she creates intense personal moments masterfully created by means of rules and omissions, acceptance and refusal, luring the viewer round and round in circles. A graduate of Mills College, a member of Non Fiction and Lower Left, Kelly Dalrymple-Wass currently lives and works in Berlin with Marfa always on her mind.
Margaret Sunghe Paek is a collaborative dance artist whose research engages in inclusionary methods and ensemble enterprises. She is deeply influenced by her relationships with contact improvisation, Alexander Technique, Barbara Dilley, the Resident Artists/Dancing Mamas, Uh Oh Trio, Loren Kiyoshi Dempster and their daughter. A member of Lower Left performance collective since 2000, the collective continues to provide her artistic foundation and home. Her work has been presented in Mexico, Europe and the US at venues including Tanzfabrik in Berlin, Germany, Judson Memorial Church, Danspace at St. Mark’s Church, and the 2012 Whitney Museum Biennial in NYC. Margaret has been on faculty at Movement Research and Marymount Manhattan College in NYC and taught at festivals in Sweden, Hungary, and Germany. She is a board member of Marfa Live Arts, Renaissance Charter Arts High School, Makaroff Youth Ballet, and on Earthdance’s Contact Improvisation Committee. In 2015, Margaret moved from New York City to Appleton, Wisconsin to teach dance in the Conservatory of Music at Lawrence University, and she loves it.
Nina Martin’s (Lower Left co-founder) choreographic and improvisational work (Improvography) has been performed in Finland, Ireland, Italy, Austria, Venezuela, and the US including 17 years presenting her work while living in New York. Her choreography has received support from numerous sources including New York State Commission on the Arts, the Jerome Foundation, and seven choreography fellowships from the National Endowment for the Arts. Recently, she has received two Tommy’s (San Diego), an Irvine Foundation California Dancemaker Grant and collaborated with Shelley Senter and taught in Japan. Her work has been influenced by Elaine Summers, Mary Overlie, Trisha Brown, and Steve Paxton among other Post-Modern greats. Nina has performed with David Gordon Pick Up Company, Martha Clarke, Deborah Hay, and Simone Forti as well as being a founding member of Channel Z in New York. (see Sharing the Dance; Cynthia Novack.) Presently, Martin carves out a new dance destination in the wild west in Marfa, Texas.
Shelley Senter has been involved with experimental and post-modern dance for over thirty years, touring the world as a performer, choreographer and teacher. She has been critically recognized for her distinct approach to movement, both independently and as a collaborator with many distinguished artists.
Her practice is rooted in the investigation of movement, the consciousness of kinesthetic experience, and the participation of the self in its continuous reorganization in time, space and imagination. Her interest lies in improvisation, collaboration and experimentalism, and in the coordination or layering of simple and non-virtuous movement to create a virtuosic complexity. Principles that underlie her work include self as habit, non-doing and the novelty and inherent possibility for narrative of the present moment.
Senter has been investigating the application of the principles of the Alexander Technique to the performing body and mind for three decades. A certified teacher of the Alexander Technique since 1994 (ACAT), her approach to teaching has influenced artists in all disciplines and has been written about in various dance, arts and Alexander Technique publications and scholarly papers.
As a dance artist, Senter has taught in festivals, universities and colleges throughout North and South America, Europe and Asia, such as the Juilliard School and The New School (NYC), Centre National de Danse Contemporaine (France), P.A.R.T.S. (Belgium), Impulstanz Festival (Austria), Kalamata Festival (Greece), Instituto de las Bellas Artes (Mexico), Casa Hoffmann (Brazil), the American Dance Festival, SFDI (Seattle), MELT (NYC) and the San Francisco School of Circus Arts, to name a few.
Her own work has been presented in New York City, Seattle, Portland, San Francisco, Canada, Mexico, Argentina, Brazil, Ecuador, Chile, France, Italy, England, Denmark, Sweden, and Greece.
She is a repetiteur of the seminal dance “Trio A” by Yvonne Rainer, and stages and creates original adaptations of the works of Trisha Brown for institutions such as the Lyon Opera Ballet and Ballet Rambert, as well as visual art venues such as Centre Georges Pompidou, Barbican and the Museum of Modern Art.
Alicia Marván is a performance artist dedicated to innovative and socially-engaging practices, with her main mode of expression being site-specific performance. Using an interdisciplinary approach, she creates performance works that incorporate original movement, theatrical elements, technology and sculptural/conceptual costuming to explore personal, social and political issues. Always interested in the dialogue between art and life, as well as the interaction between performer/space/viewer, her work often appears in unexpected alternative spaces such as urban, industrial and natural settings. She was born in Mexico City and trained in Postmodern Dance, Experimental Theatre and Butoh Dance with acclaimed teachers such as Anna Halprin, Simone Forti, Mary Overlie, Nina Martin, Rachel Rosenthal, Ruth Zaporah, Dora Arreola and Diego Piñón, among others. She has been involved in the creation of over 50 projects that include original performance works and interdisciplinary collaborations, many of which have received support from cultural organizations and academic institutions in the United States and Mexico. She is also a curator, mentor and cultural promoter in both countries, and directs the Guapamacátaro Interdisciplinary Residency in Art and Ecology in Michoacán, Mexico.
Leslie Scates is a movement educator, consultant, choreographer, and licensed massage therapist. Through her work with individuals, professionals, and collectives of all kinds, Leslie facilitates enhanced performance and collaborative communication through Improvisational Movement Practices. Leslie practices Wellness Massage Therapy and Thai Yoga Massage Therapy in Houston, Texas. Leslie is an improvisational dance specialist, and teaches Contact Improvisation, Ensemble Thinking ReWire/Dancing States techniques, all of which she has learned from extensive studies with Lower Left Performance Collective and Master Teachers from around the world. Leslie is Adjunct Faculty at the University of Houston’s Department of Theatre and Dance, serves on the Artist Board for Diverseworks Artspace Houston, and is a faculty member of the Texas Dance Improvisation Festival. Leslie has created original dance works in Houston and the US since 1991 as an independent choreographer, performer and guest artist.