On Stage: “(a) Long Here”

Taylor Knight.

Taylor Knight.

More than any of her other Projects for the Pillow, Pearlann Porter convincingly is saying “Welcome to my world” with her latest, now on view at The Space Upstairs.

She has always changed the relationship of The Space, converting it to the subject at hand. But this “Time” you may get a healthier glimpse into the workings of her mind.

I arrived at 8 p.m. on a Wednesday, perfectly midway through the installation’s 16-day run.

Yes, installation. That is what the director, dancer and artist is calling it. I found her hard at work drawing parallel lines on a large piece of paper with a crayon.

The rest of the rectangular papers lined the black chalk wall. Pearlann had calculated how long it would take her to work through a full box of 64 crayons and still finish on April 30. (It looks like she’ll save white for last.)

Most of the installation lay along the fringes of her own great, Great Room atop Construction Junction..

There were some nifty large multiple image photos by Aaron Jackendoff in keeping with the dance concept. Some collectibles were placed in still life arrangements — a couple of dusty manual typewriters, keys askew, a slide projector (one of Pearlann’s favorite anti-technology gadgets.)

A large sign saying “Pittsburg.”

You could see some former productions on old T.V.s (like Beth Ratas strikingly striped in Fripp Out/The Book).

I particularly loved the juxtaposition of Eighty Hours — a large black canvas, partially covered with grains of white rice. It was next to One Second, with one grain of rice.

Aaron Jackendoff with dance portraits.

Aaron Jackendoff with dance portraits.

Pearlann wore down a pencil in One Hour and Forty-four Minutes (the same time Apple earns $14,246,575 and there are 64 gun deaths in the U.S.).

There are more facts, some fun, some not.

By now you get the idea — time in so many configurations. Everyone can add to the mix during some integrated activities.

But take time to peruse the installations of this artistic hoarder (and aren’t we glad?). Yes, she saved the pile of clocks, so artfully arranged among the trunks that they once occupied.

As I see it, Pearlann has also become the latest variation on modern art master master Jackson Pollock (think splatter paintings). Why? Because movement, mostly repetitive, is a major part of her art work, which dominates The Space.

But there is more. Can we say obsessive?

Not so much with Accumulation of Nows, performed by mover Taylor Knight and music-maker Anna Thompson. When I saw it, there were 8 Taylors, one live and the rest recorded. They all entered through a door and used a chair and the floor. Fascinating — as he were dancing with shadows of his former self — well-planned and mesmerizing.

Pearlann had one more interation, as performer in Un/Re. A duet where she held a large tree branch and Bekah Kuczma was wrapped in a diaphanous cocoa of tulle, the two performers created a sweet tension as they gradually switched places…in a way.

Although there was no need for it, the evening concluded with improvisation as suggested by the audience. “Half way done.” “Slack.” “Godzilla.”

And, as Pearlann put it, we’re “all out of time.”

 

 

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