In November 2005, Kim Mosley and Joan Lipkin decided to have a daily
conversation for nine months. She would write. He would draw. Sometimes,
he would write, too.
When I was alone in college I met a friend who used to say "we
must have gone to the same high school" referring to some connection
that we seemed to have. She claimed that it was a line from Shakespeare.
It was only recently that I was able to do a text search of the old
guy and realize that she had pulled a fast one. In any case,
I have, however, always believed that understanding has to do with
sharing common experiences. Joan and I did actually go to the same
high school and grew up with so many shared experience,
but we were separated
by many years and never knew each other.
tend to search for ridiculous truisms. The kind that even someone
you love will not give you a reason why they are wrong. I'm interested
in then formulating an argument to show that they are true. Sometimes
in the drawings I tend to push Joan's buttons with these ridiculous
assertions (that I actually believe) and it initiates some interesting
any case, as this project continues we are starting to synchronize.
are not just about what Joan writes, but
they are my reactions as well. In the same way that we respond
in a verbal
conversation first with an acknowledgement and then with a "but," the
drawings are hopefully more than illustrations but rather dialogue.
collaboration is for me an opportunity for growth. Working
are creating a gestalt where the whole is
greater than the sum of the parts. I do not know exactly where the
work comes from, though I'm glad that my drawings come out of my
pens the way they do. I do know that the connection between Joan
and myself has been an inspiration.)
For my part,
I am interested in the discipline of daily writing and conversation
and to see how
my relationship with another person
and with myself unfolds over a period of time.In addition to the
text of my own life, I see this as an opportunity to reflect and
is going on simultaneously in the wider world
I am also interested to see what sorts of things our different mediums
spark in each other.
This project speaks ideally to my long staging commitment to public
and civic dialogue. In this piece, I am committed to being as
open and honest as I can, even when it means taking tremendous
risks and truly exposing myself.
That level of honesty and vulnerability, that stripping away at pretense
and defensiveness is where the truest possibilities for communication,
growth and art lie.
Thank you for breakfast this morning and for the drawings It was a treat
to be with you and to catch up. Although it seems as soon as we catch
up on one topic, it morphs into another and so we never do. Catch up,
It is a slippery slope. So really, catch up is an absurd expression that has
no basis in reality. Maybe I should say that we ketchup, or even relish, instead.
It is 4:48 PM on a Sunday afternoon. I have just returned from rehearsal with
The DisAbility Project. Much discussion about a new piece are developing that
deals with violence, and whether we should offer some hope at the end of the
piece or let the futility settle in as a kind of challenge to the audience. We
talked for a long time and I asked everyone to check in with their thoughts.
Sara Burke, the choreographer with whom we are working asked if people's discomfort
with the piece also had to do with the fact that it brought up feelings over
Lisi's death. Most of us attended a memorial service for Lisi one week ago today
at the Friends Meeting House in LaSalle Park.
Everybody raised their hands. I have to give Sara serious credit. She sat and
listened to various people talk about the ways in which they are uncomfortable
with the piece without defending or justifying her choices. That is a hard thing
to do and yet for some art forms, especially ensemble generated performance,
it is essential.
I wonder if you are interested in feedback about your work. We have never had
that conversation. Do you want to know what people think in response to something
you are doing or the way in which you are doing it? Especially if you are trying
to convey one thing and they see something else. If they do not get your intent,
does it matter to you? Would it make a difference in what you do?
How do you feel when someone gives you feedback, especially if it is unsolicited?
Or do they? Maybe it is a different situation for me as the work I do is much
more consistently public. Performance in some senses does not exist without an
audience to see it and reflect it back, even non verbally. Do you think that
drawings exist without someone besides the artist to see them?
Is this a difference between genres or private and public or even intent?
Sunday, Nov 13, 2005 5:10 PM