Along Side Us.

Auckland-based performance artist and film-maker, Robyn Jordaan, works with dance, film and sculpture to offer up a visceral array of concept exploration, including our natural world, body somatics and absurdist theatre.

Working with death and life form inside of our kauri landscape based in the waitakere ranges, exploration of understanding passing and the multiple levels of grieving to find clarity in decision making.

The Present Continuous, 2016.

Through dance and improvisation in a fictional scenario, the video The Present Continuous aims to portray the body’s comportment in partial escape from its morals/belief systems ingrained through upbringing. When the body sets out to characterise itself, it falls into a trap of disillusionment, where we can be conscious and are able to fully functioning under the gaze of character, but not one we have knowingly found ourselves brought up to be. The sharp division between private and public has become partial. Often to find our-self loosely tied to an image in person we don’t move as. The Present Continuous offers an immersive image within which someone might nonetheless experience difficult self-reflection as much as room to breathe, the body of the viewer in equilibrium with those depicted. It shows displacement of hierarchy between bodies and objects that become apparent and the interplay of performativity between the observer and observed unravels itself through distractions, misunderstandings, unexpected associative relations, suspense or disbelief.

There But For The, 2016

During a dinner party I ran away. I became the invader even though they were the aliens.

Death Birth Death Dance

A work by Kyah Dove

Filmed by Sara Cowdell

Edited by Robyn Jordaan

Child Tap, 2016

First touch of fog

threetokesndoesntdrytheclothes, 2014.

Remeniscent Usage
Along Side Us.
The Present Continuous, 2016.
There But For The, 2016
Death Birth Death Dance
  Child Tap, 2016
First touch of fog
  threetokesndoesntdrytheclothes, 2014.
Remeniscent Usage
Along Side Us.

Auckland-based performance artist and film-maker, Robyn Jordaan, works with dance, film and sculpture to offer up a visceral array of concept exploration, including our natural world, body somatics and absurdist theatre.

Working with death and life form inside of our kauri landscape based in the waitakere ranges, exploration of understanding passing and the multiple levels of grieving to find clarity in decision making.

The Present Continuous, 2016.

Through dance and improvisation in a fictional scenario, the video The Present Continuous aims to portray the body’s comportment in partial escape from its morals/belief systems ingrained through upbringing. When the body sets out to characterise itself, it falls into a trap of disillusionment, where we can be conscious and are able to fully functioning under the gaze of character, but not one we have knowingly found ourselves brought up to be. The sharp division between private and public has become partial. Often to find our-self loosely tied to an image in person we don’t move as. The Present Continuous offers an immersive image within which someone might nonetheless experience difficult self-reflection as much as room to breathe, the body of the viewer in equilibrium with those depicted. It shows displacement of hierarchy between bodies and objects that become apparent and the interplay of performativity between the observer and observed unravels itself through distractions, misunderstandings, unexpected associative relations, suspense or disbelief.

There But For The, 2016

During a dinner party I ran away. I became the invader even though they were the aliens.

Death Birth Death Dance

A work by Kyah Dove

Filmed by Sara Cowdell

Edited by Robyn Jordaan

Child Tap, 2016

First touch of fog

threetokesndoesntdrytheclothes, 2014.

Remeniscent Usage
show thumbnails