Performance Still by Pearl Gabel / Five Myles Gallery / December 2014

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@sheisdescending
Performance Still by Pearl Gabel / Five Myles Gallery / December 2014
Water Ritual Performance Detail / Five Myles Gallery / December 2014
Vanity Installation Detail / FiveMyles Gallery / December 2014
Water Installation Detail / FiveMyles Gallery / December 2014
Installation Details / FiveMyles Gallery / December 2014.
December 17, 2014 / GO Brooklyn / Crown Heights / Theater
BY VANESSA OGLE
The Brooklyn Paper
.
Art isn't just imitating life. For this artist, her work is also a way to live.
Artist Lindsay Abromaitis-Smith will give a performance about her experiences living with Amyotrophic Lateral Sclerosis — also known as Lou Gehrig’s disease — at Five Myles Gallery in Crown Heights on Dec. 19–21. In “Bloom. She is Descending,” Abromaitis-Smith explores the way the disease affects how she moves in her own body. But the artist said the performances themselves have also helped her cope with those changes.
“Part of why I am making the show is so that I have a way to deal with what is happening — I really try to make sense of it and it gives me a focus,” said Abromaitis-Smith, who is a former puppeteer who lives in the Bronx and has been performing about her experience since the summer of 2013. “When I’m on stage, I guess I can tap into the emotions that I’m wrestling with every day, but I also feel like I’m really trying to get in touch with something more universal.”
The show is rooted in nature — Abromaitis-Smith uses dirt, twigs, and other natural fibers in her performances. The performance is very raw and earthy, she said, and was partially inspired by an ephemeral goddess she dreamed of the night before she was before she was diagnosed with the disease in 2012.
“I had a dream that there was a goddess who was made out of flowers and plants and she told me — and I’m quoting her — she said, ‘You have to learn how to physically manifest differently,’ ” said Abromaitis-Smith. “And then she would sing and every time she sang she had human form, she had skin, and became human and then she would go back to being flowers.”
Abromaitis-Smith no longer has the dexterity to use puppets, so she performs alongside Sarah Lafferty, who plays the goddess, and dancer Misha Braun. A band also accompanies the trio onstage.
One of the show’s designers said the performance highlights Abromaitis-Smith’s connection with nature and the ways Amyotrophic Lateral Sclerosis has changed her daily life.
“The way she feels about the physical world is completely different — the disease has changed her entire relationship to the world we take for granted,” said Jessica Scott, who has been friends with Abromaitis-Smith for 10 years and is the designer of an installation and puppets used in the performance. “It is the content that is really ambitious and scary and personal and really intimate. I’ve never done a show that has been about something so important to me.”
But Abromaitis-Smith said the show is about more than just her disease, and she hopes audiences will connect with the over-arching theme.
“Clearly, this show is my story with the disease but I’m hoping very much that anyone who sees it, whether or not they know me, can take something about the human experiences with them,” she said.
“Bloom. She is Descending” at Five Myles Gallery [558 Saint Johns Pl. between Classon and Franklin avenues in Crown Heights, (718) 783–4438, www.fivemyles.org]. Dec. 19–21 at 7pm. Installation on view Dec. 20 and 21 at 1–6 pm.
Reach reporter Vanessa Ogle at vogle@cnglocal.com or by calling (718) 260–4507. Follow her attwitter.com/oglevanessa.
We are excited to announce that BLOOM. SHE IS DESCENDING will be installed and performed at FiveMyles Gallery this December. Located in Crown Heights, Brooklyn, FiveMyles is an exhibition and performance space where art and community connect. Gallery Director Hanne Tierney was instrumental in the early stages of bringing BLOOM to life, and we are thrilled that the fully realized performance has found a home in this space.
Opening Night Performance + Reception
Friday December 19 at 7pm
Additional Performances
Saturday December 20th + Sunday December 21st at 7pm.
The installation will be on view during Gallery Hours from 1-6pm on Saturday December 20th + Sunday December 21st.
Tree of Life, New Orleans City Park, October 2014
by Sarrah Danziger
Video installation by Lindsay Abromaitis-Smith and Caroline Yes, on display at The Tigermen Den for Prospect New Orleans P.3+ October 25 - December 6, 2014.
BLOOM. SHE IS DESCENDING at Prospect New Orleans P.3+
The BLOOM team traveled to New Orleans over Halloween weekend to preview the show at The Tigermen Den as a part of the Prospect New Orleans P.3+ biennial extravaganza. It was even more amazing than we could have dreamed it would be, which is saying a lot!
We were welcomed with open arms by the community of artists and makers who run The Tigermen Den, a lovingly restored 200 year old corner building in the heart of the Bywater. Lindsay set up camp in the fully accessible artist-in-residence apartment behind the gallery, directly adjacent to the kitchen and the backyard. We ate every meal in the garden with oleander, rosemary, lavender and basil nestled at our feet and god's eyes and mardi gras beads swaying in the breeze above us.
We were joined by herbalist and dear friend Olivia June, who provided daily care for Lindsay and delicious home cooked meals for all of us during our first week on-site. Gallery proprietors and co-conspirators Leesaw Anne and Olivia Marie (aka Ladybabymiss & the Tigermen) facilitated our ambitious multi-media install with the fierceness and love of tigers, and all of the artists in the show came together to create some real magic in the space.
The group show, entitled With Light, With Love, debuted with an Opening Night gala for Prospect New Orleans P.3+ Opening Weekend on October 25, 2014. The community came out in force and we were blown away with how receptive and engaged folks were with the work. We met new friends and reveled in the glow of the living altar we constructed to facilitate the coming week of rehearsals for Lindsay and company.
We shared the show with a lovely roster of local and national artists. New Orleans artists Lee Kyle, Marcela Singleton, and Joy Patterson created a sprawling birds nest habitat all aglow with twinkling lights and painted branches under the wrap-around overhang encircling the gallery entrance. Maine painter Veronica Cross installed her series Rich Inner Life in the back gallery, and Gretchen Faust occupied the long hallway connecting the gallery to the backyard with a sound installation, broadcasting voices from collected interviews relating to Appalachian coal mining from baskets filled with light and mounted to the wall.
Veronica Cross "Pomona" 2013
We rigged a giant screen across the front wall of the main gallery space, suspending it like a dreamcatcher with vines and flowers connecting it to the dress/flower puppets on either side of our living altar. Lindsay's throne was ensconsed on a mat of elephant ears from the garden, and we set the video that Lindsay created with Caroline Yes, using footage from the past performances of BLOOM intertwined with found footage of life in the plant world, on a loop. Caroline's soundscape played in tandem with the video, filling the space with the sounds of Tibetan bowls, seed rattles, chimes, creaking wood, chanting and melody.
Performer and puppeteer Sarah Lafferty joined us after opening weekend, along with co-conspirator Kate Brehm, to begin rehearsals for our performance on November 1st. We spent the week rehearsing, exploring the city, eating amazing food, and crafting Halloween costumes at Tinseltown, the pop-up shop that we shared the gallery with in the days leading up to Halloween. On Thursday night we joined Sarah's dance troop The Pussyfooters in the Krewe of Boo Halloween Parade, marching from the Marigny through the French Quarter alongside floats, puppets, and ghouls and goblins of every size and shape imaginable. On Halloween proper we were joined by BLOOM co-designer Jessica Scott and production manager Neelam Vaswani. Antics ensued, candy was distributed to neighborhood children, and spirits danced on the wind.
We debuted the performance on Saturday November 1, 2014, the day between Halloween and the Day of the Dead, at two in the afternoon. We were blessed with the celestial accompaniment of the inimitable Helen Gillet on cello, and we performed to a house packed with old friends and new friends.
The embrace of the City of New Orleans allowed BLOOM to incubate and grow in exactly the way it needed to at a crucial time in its development. We are so grateful for the experience, the opportunity to share our work with the incredible creative communities of the Crescent City, and the deeply meaningful time we were able to spend together as friends and artists. Laissez le bon temps roulez!
Fundraising Video 2.0 | Spotlight on the BLOOM Team
BLOOM is thrilled to debut version 2.0 of our fundraising video, featuring a spotlight on the team of all-star designers, puppeteers, performers, musicians, builders and producers that Lindsay is working with to bring her vision for BLOOM. SHE IS DESCENDING to life.
Because Lindsay is no longer able to build or manipulate objects with her own hands, she has enlisted the help of the BLOOM team to create an immersive physical and sonic environment designed to support her as she explores her continually changing capacity for movement.
The BLOOM team brings decades of cumulative professional experience in the fields of puppetry, performance, music, film, management, and production to the project along with their dedication to helping Lindsay realize her vision. Highlights from the team's collective resume include performances seen on Broadway and Comedy Central, participation in the Park Avenue Armory Show and the Frieze Art Fair, and design work for clients ranging from Sesame Street to Bjork.
Get the scoop on the team below, and click through to our IndieGoGo page to become a part of the effort to bring this important art to the stage!
Creative Director | Lindsay Abromaitis-Smith
Lindsay Abromaitis-Smith defines herself as a story collector who practices storytelling primarily through puppetry and gesture. As a performer, puppeteer and bodyworker, Lindsay has spent her life investigating and celebrating what the human body is capable of, and telling stories about what binds us together as human beings. Over the course of her decade-long career she has worked as a puppeteer in productions with Basil Twist, Mabou Mines and Lee Breuer, as a performer alongside Joey Arias and Manfred Thierry Mugler in the film Z Chromosome, as an aerialist in the solo performance Domestic Snakes, and as a percussionist with experimental rock band The Clearing. She has created, directed and performed in many original productions including a puppetry adaptation of The Ballad of Cupid and Psyche and the experimental dance piece Finding a Way Back. She was a HERE Arts Center Resident Artist from 2009 to 2012 and a recipient of the Jim Henson Foundation Project Grant for her original piece of movement-based ritual theater, Epyllion, in 2012. She was diagnosed with ALS in August 2012 and has been working on BLOOM ever since.
Design Co-Director | Jessica Scott
Jessica Scott is a self-taught, New York City based visual artist, director, performer, and teacher. Ms. Scott has designed and performed for most of Basil Twist’s productions since 2003. In 2010 she made her Broadway debut puppeteering in Pee Wee’s Playhouse at the Stephen Sondheim Theater, and returned again to Broadway in 2012 as the Puppetry Associate for Big Fish the Musical. In 2013 she was the lead puppeteer and puppetry director of the Mabou Mines epic La Divina Caricatura. Recently, Ms. Scott collaborated with painter Bjarne Melgaard to create over forty custom dolls for the exhibit A New Novel at Luxembourg and Dayan Gallery, the Park Avenue Armory Show and the Lyon Biennale. Ms. Scott also recently designed her first live-action puppetry film, The Never Bell, which premiers at BAM’s Puppet’s on Film Festive October 26th. Other TV puppetry credits include Flight of the Conchord’s Demon Woman and Bjork’s Wanderlust. Ms. Scott is currently a HARP and Dream Music Puppetry resident artist at HERE Theater where she is developing her piece Ship of Fools.
Sound Designer + Producer | Caroline Yes
Caroline Yes is an artist and musician who has written, toured, and produced shows with New York City based bands The Clearing, Frankie Rose and the Outs, and most recently the psychedelic witch metal trio FLOWN, hailed by Pitchfork for their riot grrrl tendencies and occultish bent. She has been creating live soundscapes for ritual, meditation, and theater since 2006, and has curated, produced and performed in rock shows that approach performance as ritual all over Brooklyn and the East Coast, including performances at Secret Project Robot, Death by Audio, and most recently as a part of the Naama Tsabar's installation Without curated by Mindy Abovitz + Tom Tom Magazine at the Frieze Art Fair. She has toured the US and Europe as a bass player, and is currently creating soundscapes for meditation under the moniker Ankeresse, in which she uses the electronic manipulation of objects from nature to create immersive sonic environments.
Lead Puppeteer + Performer | Sarah Lafferty
Sarah Lafferty is a multifaceted performer and builder who has had the pleasure of performing with Lindsay Abromaitis-Smith in her productions of Cupid and Psyche (2005 & 2007, Dixon Place), Epyllion (2011 & 2012, HERE!), and Mental Hygiene (2012, St. Ann’s Warehouse). Her other favorite performances are: Bea Baxter in Senseless! A Brick Foley Adventure (2010, St. Ann’s Warehouse & tours including NOLA Fringe 2011) and Giant Stephen Colbert at the Rally to Restore Sanity and/or Fear (2010, Comedy Central). Sarah builds for puppet studios in New York City, including the Jim Henson Company, where her work will be seen on Sesame Street’s 45th Season. She’s a proud Pussyfooter since 2003.
Performer + Dancer | Misha Braun
Misha Braun is a graduate of the Neighborhood Playhouse who was born in Amsterdam to Verdi’s Requiem above the famed Bulldog Coffee Shop. He was raised by his single mom in NYC, the hustle capital of the world, with hip hop and break beats in his headphones and spray cans in his backpack. A performer for as long as he can remember, Misha got his start as a 7 year old pipsqueak in tights dancing on full scholarship at the prestigious School of American Ballet. He has danced professionally with the San Francisco Ballet and the Pennsylvania Ballet. His theater credits include Bryan and Kim (NYC Fringe Festical, Barrow Group & Hudson Guild Theater), Abomination, Self Examination, Late Night Snack (HB Theater), The Old Man (The Gallery Players Theater), Henry IV Part I (American Theater of Actors). Film credits include Black Swan, Not Fade Away, Inside Llewyn Davis and the web series Caleb and Rene.
Production + General Manager | Neelam Vaswani
Neelam Vaswani, originally from Atlanta, GA, has lived and worked in NYC for the past 14 years as an AEA Stage Manager and Production Manager. Early in her career, she found herself surrounded by an array of puppets, and has built her reputation working alongside a wide range of creative spirits, including with Mabou Mines in their adaptation of Peter and Wendy and with the late Ruth Maleczech in Song for New York. She has stage managed the majority of Basil Twist’s repertoire including Arias With A Twist, Master Peter’s Puppet Show, Petrushka, Dogugaeshi and La Bella Dormente nel Bosco. Neelam worked closely with Lindsay on the many phases of Epyllion. She’s thrilled to be part of BLOOM, which is a magical journey that proves when we use our creative energy anything is possible!
Flashback Friday: EPYLLION and ritual storytelling with Lindsay Abromaitis-Smith
Lindsay Abromaitis-Smith defines herself as a story collector who practices storytelling primarily through puppetry and gesture. As a performer, puppeteer and bodyworker, Lindsay has spent her life investigating and celebrating what the human body is capable of, and telling stories about what connects us to one another as human beings. Over the course of her decade-long career she has worked as a puppeteer in productions with Basil Twist, Mabou Mines and Lee Breuer, as a performer alongside Joey Arias and Manfred Thierry Mugler in the film Z Chromosome, as an aerialist in the solo performance Domestic Snakes, and as a percussionist with experimental rock band The Clearing. She has created, directed and performed in many original productions including a puppetry adaptation of The Ballad of Cupid and Psyche and the experimental dance piece Finding a Way Back.
In her own work, Lindsay uses her skill set as a puppeteer and performer as a jumping off point to explore the question of what binds us together as living beings. She has used puppetry, dance, object manipulation and ritual theater to examine and celebrate the innate intelligence of the body and the common experiences that unite us across our varied cultures and experiences as humans.
Lindsay's 2012 show Epyllion dives deep into these themes, using ritual, puppetry and dance to explore ideas of what is essential to being. Epyllion was developed over a three year residency at HERE Arts Center with the support of a Jim Henson Project Grant. In many ways, Epyllion establishes a physical and visual vocabulary that Lindsay continues to draw on in the creation of BLOOM.
Here, in a piece originally published in NYArts Magazine, Lindsay talks about her process and inspiration in the development of Epyllion, and the common threads that inform her exploration of ritual, the human body, and the roots of storytelling.
IDOL: The World of Epyllion
Epyllion is an incorporation of puppetry, ritual, gesture, and song to create a world that taps into the innate intelligence of the body. An epyllion is a short epic poem of erotic and mythological content, a story of old that bring us to a better understanding of Eros. Traditionally, audiences attend the performance of an epic not because they want to hear a new story, but to live a story they already know through its telling, to be a part of the experience. The nature of the ritual is to encourage the audience to bring their own life into play, making our stories their own.
We are at a time of great forgetfulness of our roots. In search of meaning, I went back to the roots of theater—ritual storytelling. I search for the story of what feeds us. And in this search, I ask the people I am working with, the music makers, other storytellers, and the audience to come together in a ritual storytelling of a way we might find answers: “What are we made of? What nourishes us? Who are the people we share bread with? How do we find the sacred in the everyday?” As storytellers, we bring life to our story and to the objects that inhabit the world of Epyllion. Just below the surface of the water in which we bathe or make our tea lies the realm of the flood and, within that, the moon. The fire that goes into baking bread or smoking is born from trying to understand and grasp the sun. Landscapes are built from the bones of creation, the ribcage of our collective breathing from whose center we draw the four elements that weave us together and define the layers of existence and pathways through which we travel.
If human performers are vessels that can carry stories through their bodies to the audience, then a puppet is the ultimate storyteller, a tool that channels what needs to be expressed. We create icons and images of the sacred as a tool, as medicine, a means to be in contact with and remember greater powers. It is a way to connect with our highest selves, a chance to play gods as well as to interact with them on a more intimate and simpler scale. What intrigues me with puppetry is the extent to which we, the puppeteers, give energy and life to these puppets through a worshipful surrender to the will of the puppet. We move with them, send our physical impulses out into their limbs; we breathe with them.
In the creation of the world of Epyllion, I encourage the building of a safe place where the body as a vessel can pour out its contents. To give the chance to listen, see, and feel what may put us at ease and at home in ourselves. To discover what nourishes the infinite possibilities of our hearts’ desires. To give the chance to let go of the building pressures and oppressive forces that keep us from finding our balance within ourselves, with each other, with this earth our mother, with the elements, with source energy. Our daily bread, the salt of the earth, flowing waters outside and within, breath, and song. I want to unravel personal mythology, what is embedded in the psyche, the spine, the skin, in our breath, to see what we can weave together. To peel back the layers in order to expose and to be reborn, to grow out of our societal containment.
"Carnal and spiritual collide in this search for what nourishes the infinite possibilities of our hearts' desires. In the world premiere of Epyllion, the story we are becoming unfolds through puppetry, movement, and song, developing new rituals that tap into the innate intelligence of the body and reawaken this understanding and those who bear witness to it. Through everyday practices we identify ourselves in the moment but also touch upon an ancient visceral subconscious."
Performers Lindsay Abromaitis-Smith, Kate Brehm, Sarah Lafferty, Eva Perrotta
Music Akie Bermiss, Elijah Tucker, Emma Alabaster
Lighting Design Ayumu POE Saegusa
Stage Manager Neelam Vaswani
Lindsay tells the Origin Story of BLOOM. SHE IS DESCENDING
This interview with Tim O'Neill was filmed in September 2013, in the week following the first performance of BLOOM as a one-woman show at Dixon Place, NYC. Watch to hear Lindsay talk about her dream, her diagnosis, her collaborators, and the many paths leading to BLOOM.
"Literally the night before I went in and got my first working diagnosis, I had this dream about this goddess woman. She was made up all of flowers and plants. And she told me that she and I were both learning how to physically manifest differently. The only time that she ever had human skin was when she was singing, and I thought that was really cool. And I loved the dream, and I woke up being like "That was really cool!" And I thought about it a lot afterwards, and as I started to slow down…I am still feeling so very much alive, but I don't move quickly anymore, and I often feel my energy being rooted and going downwards. So its like, "Well, I have to stay here in this spot but I can still BE." And I'm really effected by the rain and really effected by the sun, and I thought, "Well, oh shit! I'm clearly turning into a plant! So clearly I have to make a puppet show about people turning into plants!"
"I finally worked up the courage to talk to Hanne Tierney one night. It was kind of a brilliant moment of, I guess, coincidence. We were the two panelists for a discussion at Dixon Place. Kate Brehm always has these fireside chats with puppeteers, and we were the two people talking that night. So I asked her if she had any input in my idea for my show because she has created this amazing elaborate rigging system for puppetry that I thought I might actually still physically be able to do. And when I told her about my idea, she said she saw dresses in space dancing and morphing into…something. And I said, perfect! Not only do I have this amazing red dress, I have these two other pink dresses that were my junior prom dress and another dress that is very significant to me. They both represent very significant moments in my life."
"So I brought the three dresses over to her studio one day and we did some rough rigging of all three dresses. Then I realized with the red dress that, oh, I just want to wear it. So I started messing around with that. And I realized that there was a lot of archetypal imagery with the three different dresses and the three stages of womanhood and all that. And that led me into writing a bunch of poetry and I had a little tea and poetry moment with Karen Kandel and she would come over and we would read to each other, and all this stuff just kind of poured out of me, and then I realized, oh, I really have to develop this character in the red dress, who is the only actual human that will be on stage. So now I feel like I have that character more or less developed and now I have to bring back the other two. And I think that they are these two dresses suspended in the space. And the voice of the poems is coming from them but also from the red lady. And they are dancing like humans but then roots grow from them and they turn into flowers somehow as the lady in red dances."
BLOOM'S INDIEGOGO CAMPAIGN IS LIVE! Please check out the video, donate, and share widely! We need your help to bring this important work to the stage in New Orleans this fall and in NYC this winter.
The goal of this show is to bring Lindsay Abromaitis-Smith's experience with ALS to the stage as a work of art, fostering connection, understanding, and community through an experience that is so often painful and isolating. In doing so, BLOOM strives to make visible an experience of disability that too often remains unseen and unheard. It is a dance of transformation that speaks to wide ranging communities of those affected by disability.
Because Lindsay is no longer able to build or manipulate objects with her own hands, she has enlisted the help of an all-star team of designers, puppeteers, performers, musicians, builders and producers to help her realize her vision. The BLOOM team brings decades of cumulative professional experience in the fields of puppetry, performance, music, film, management and production to the project along with their dedication to helping Lindsay bring her vision to life. Professional highlights from the team's collective resume include performances seen on Broadway and Comedy Central, participation in the Park Avenue Armory Show and the Frieze Art Fair, and design work for clients ranging from Sesame Street to Bjork.
We are seeking funding for the installation and performance of BLOOM in New Orleans this October and New York City this December. The money raised will be put into action financing the many costs associated with producing a piece of theater, and will aid in the particular challenges of doing so while living with ALS. Costs of sculptural materials, camera and projection equipment, audio equipment, stipends for our cast and crew, handicap accessible travel and transportation expenses to get Lindsay, her crew, her puppets and her caregivers from New York to New Orleans, are all included in our budget.
The BLOOM team is committed to working together to support Lindsay in bringing her vision to life on the grand scale that befits this once-in-a-lifetime opportunity. We, in turn, are asking for your support in helping us make this happen. This is an invitation to invest in a project that shines a light on what a lived experience of ALS can look and feel like: beautiful, scary, wild, loving, painful, awesome, sensual, slow, deep, heavy, and changing every day. BLOOM is a dance of transformation that is made possible by the love and support of the people in our communities. We are asking you to join us in making this possible.
Click here to donate and to help us spread the word!
BLOOM is going to New Orleans for Prospect 3 this October!
BLOOM is so excited to announce that we will be taking the show to New Orleans this October to participate in the group show "With Light, With Love" presented by The Tigermen Den as a part of the Prospect 3 Biennial P.3+ Satellite Program.
Lindsay will be traveling and performing with sound designer Caroline Yes and performer Sarah Lafferty. They will arrive in the Big Easy the week before Halloween, and BLOOM will be installed as a video installation alongside the kinetic dress/flowers created by Jessica Scott for our most recent performance at Dixon Place this July.
Gallery hours will be held on Saturday October 25th from 6-8pm and on Saturday November 1st from 1-5pm. There will be a performance at 1pm on Saturday November 1st in conjunction with the official P.3.+ Gallery Tour.
Did we mention that we will just happen to be there for Halloween?
We are so excited! Stay tuned for further details and if you are in New Orleans come see us in the Marigny in October!
Big things on the way for #BLOOM!
via Twitter @Bloomdescending
photo by Candice Strongwater