HD video with sound, 04:53
The process for Leslie Across The Floor started from my encounter with Leslie Satin, a dancer and choreographer who studied with Merce Cunningham and teaches at NYU. I wanted to find the parallels between our fields, video and dance, and the first thing that came to mind were entrances and exists: Both the traditional dance stage and the cinematic frame have edges which one must exit and enter. These points of entry and departure also stand in for the narrative's edges: the beginning and the end. In order to create the choreography for this video I asked Leslie to improvise a movement which was an entrance that turns into an exit. She laid on her back and I laid down on my stomach, with the camera at floor-height. I shot her entering then leaving the frame, like a worm inching in reverse.
The second phase in the process happened in my studio. I decided to completely replace the video's soundtrack: instead of the sound of a soft body being pushed/dragged across a polished wood floor, I recorded, in perfect synchronicity with Leslie's movements, the sound of what I imagine Richard Serra's sculptures, which are made of forged steel and weigh many tons, sound like when dragged across an industrial cement floor.
Composite stills from the video
This is the visual score I used to create a soundscape for this video, which features dancer and choreographer Leslie Satin inching her way, worm-like, across a dance studio floor. I replaced the natural sound of the dancer’s body on polished wood flooring with what is intended to sound like a Richard Serra sculpture being dragged across a concrete landing. This is the score I used to perform the sounds in sync with the dancer’s motions.