statement on performances
The drama of my sound-centered performances emerges from relationships formed between my electronic instruments and the bodies that activate them. Using improvisation and gentle scoring, any given performance embodies and shares a unique trajectory of listening that attends to a synthesis of aural, visual, and kinesthetic streams of information. Worded and unworded speech, movement and gesture, acoustic and electronic sounds, light and shadow, sadness, humor, and ambiguity are all used to articulate this listening. Stories then unfold as integrated sensory experiences, often without regard to linear narrative structures; and with close regard to particularities of ensemble, audience, space, and place. It is my hope that navigating stories together may have medicinal or therapeutic effects, resulting in heightened perception, increased self-awareness, and deepened empathy.
Anastasia Clarke is active as a composer, performer, and sound engineer. Focusing on live embodied electronic music performance, both solo and collaborative work serve as sites for research and meaning-making. Anastasia has sculpted sound designs for Boom Bat Gesture and Mechanism Dance Theater, and has appeared as a performer in works by Chris Wood (Mocrep) and Jennifer Gerry (Mechanism). Original sound works have been premiered at MoMA P.S.1., The Film Society of Lincoln Center, HERE Arts, Triskelion, and Incubator Arts Project. Recently, Anastasia studied Electronic Music and Recording Media at Mills College. Current projects use electronic hardware and software to forge active relationships between performer, gesture, light, and sound.
Anastasia Clarke performing at Confetti Machine Festival, Outpost Artists Resources, Ridgewood, NY. Photographs: Verónica Puche