Siobhan Davies Dance had the pleasure to welcome back the fourth 60|40 exhibition in its Starting point series at Siobhan Davies Studios. This year metal worker Ane Christensen, jeweller Fliss Quick and visual artist Rhian Solomon have explored the relationship between the Studios’ activities and space, and their own distinct practices.
Metal worker Ane Christensen created E8 and SE1 which were made as a response to the dialogue that Christensen found between the contemporary architecture at the Siobhan Davies Dance Studios and the original Victorian building. The starting point for both pieces of work was found lumps of concrete rubble (the titles refer to the areas of London where the concrete was found). E8 consists of two lumps of reinforced concrete rubble, with a length of mild steel wire welded to the existing wire within the concrete. The wire ‘dances’ between the two pieces of rubble creating a visual contrast between the clumsy rawness of one material and the playful lightless of the other. SE1 consists of a piece of concrete with a welded steel shape resting on top. The steel is balancing on a single point and supported by the concrete. The result is a harmonious collision between the very sharp and the rather crumbling.
Jeweller Fliss Quick’s work stemmed from observations she made of the Siobhan Davies Studios office and conversations with dance artist and administrator Iris Chan. This work looks to evidence the rhythms and movements of the office and capture its everyday dances. Office Instrumental feeds live sound from the instruments of the office into the foyer. This piece aimed to draw attention to the office space’s inherent stage-like quality and to highlight the on-going performance of the office. Keyboard Tap is a film that utilises the often over-looked gestures and sounds of the office and choreographs these actions to frame their inherent dance like qualities.
Visual artist Rhian Solomon’s Body Space is a series of photographs that reference relationships between the fabric of the building of Siobhan Davies Studios and the fabric of the body. Working with architect and dancer, David Carqueijeiro, Solomon has embossed various surfaces found around the studios onto his skin (stairwells, walls, and mesh) and then created stances throughout the space that show the traces of the buildings physical qualities– a residue left as evidence of contact. Through this embossing Solomon has explored the changing dialogue between the body and its experience of this space.
With the Starting point series, we invite the craft collective 60l40 to choose three artists each year, each commissioned to create a new work in response to the building. This is for both organisations a platform to support artists at a crucial stage of their practice, giving them an opportunity to push their work in a different direction, away from their usual context and art form boundaries.