ARTIST SPOTLIGHT 12: LILLIAN STAMEY + BLAKE HORN
Get to know Lillian Stamey + Blake Horn, dance on film collaborators, and 12 of 12 presented artists during our upcoming performance series, Volume VI, Issue I. from March 11 to 13, 2016. Pulling inspiration from a multitude of sources, the duet's film "In Between" is a conversation between two characters gripped by their inability to listen, trust, and surrender. Learn more about Lillian + Blake on our Artist Spotlight and see their work in Program 02: Design Vs. Narrative + Program 03: Distorting The Frame.
LILLIAN STAMEY + BLAKE HORN
Three words that Describe your Choreography
Estranged, Entangled, Imbalanced.
About Lillian + Blake
Lillian Stamey and Blake Horn have been working together for three years on creating a stage for dance on film. In their collaboration, Lillian and Blake aim to journey outside of ordinary reality, to transcend space and time, and to guide the mind’s eye in ways that draw the audience inside the work. Lillian, co-founder and director of 96b dance collective, is interested in experiences of the human condition and seeks to reveal the emotional body within her work. Blake, filmmaker and cinematographer, is a storyteller who distills reality in order to provoke a change of perspective.
About Lillian + Blake's Creative Process
The process initially began between the two collaborators with long discussions of inspiration, personal experience, and philosophical ideas. Movement content was generated through improvisation exercises inspired by ideas of control, vulnerability, power, surrender, and opposing forces. The Director of Photography attended rehearsals to grasp quality, space, and timing of the movement and then the directors developed visual ideas based on light, color, texture, and location, to weave together the aesthetic with the overall concept of the piece.
What is one of your most memorable moments of an artist, thus far?
Meaningful memories for both Blake and I during the creation of “In Between,” were our experiences leading up to and before the film shoot. Both experiences had such different waves of emotions running through the collective cast and crew. The evening before the shoot, the entire cast & crew drove up to Westchester, NY where my parents generously hosted everyone in their home. We had a massive BBQ that evening and restless sleep, with people sleeping on couches, spare mattresses, and on the floor. Blake, Alex (producer), and I stayed up late tidying up all the last minute details. What I remember most was the buzz of excited anticipation for the day to come. Needless to say the shoot day was long, effortful, and highly successful. After an exhausting 13 hour day, we celebrated by sitting down at a pizzeria and talked about the day’s accomplishments. It was moving to experience everyone bringing their unique strengths and talents for the sake of creating a piece of art.
What’s the best space for making dance, and why?
Most dancers dream of a beautiful, remote studio, with pure wooden or marley floors, large windows to allow for natural light, and unlimited access to studio space! However making dance, as a creative process, needs a kind of space beyond the physical studio. Space can also be defined as a mental state of being, where one allows the time for concept, emotion, and inspiration to manifest into movement. It is tremendously supportive for the dancer to feel comfortable within the environment and around people s/he trusts.
What influenced the concept/work that you are presenting at the CURRENT SESSIONS?
We found inspiration for “In Between” across multiple mediums: music, painting, film, and photography. For the sound and feeling of the film, we found that Radiohead’s “Kid A” and the soundtrack from “Under The Skin” (2015) had the dark and abstract concepts, minor melodies, and overall beautiful and ominous tones that we desired. Mark Rothko’s work helped us define our color pallette which led to locations, creating costumes and makeup, and the overall look of the film. Two films that heavily inspired our visual look were Chris Marker’s “La Jetée” (1962) which has an incredible dingy and mystical aesthetic, and Andrei Tarkovsky’s “Stalker” (1979), which took place in a forgotten, post-apocalyptic world.
See Lillian + Blake in Volume VI, Issue I., on Saturday, March 12 at 7:30pm + Sunday, March 13 at 3pm with Talkback.