statement on performances
I give dramatic electronic music performances. The drama of my 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 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 (b. 1987, New York) is active as a composer, performer, and researcher. Her work is focused on live embodied electronic music performance, both as a solo performer and a shapeshifting sound designer/performer in dance and theater ensembles. Anastasia has sculpted sound designs for Boom Bat Gesture, Mechanism Dance Theater, and her own performance works. She has appeared as a performer in works by Chris Wood (Mocrep) and Jennifer Gerry (Mechanism), and premiered sound work at MoMA P.S.1., The Film Society of Lincoln Center, HERE Arts, Triskelion, and Incubator Arts Project. Recently, Anastasia received an MFA in Electronic Music and Recording Media from 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