#edward lloyd

[mietziekatz]

Siblings.

I drew this draw the squad thingy a while ago and still kinda like it.

(I sadly don't know who the original creator of the draw the squad reference is so I can't credit them...)

[bottegapowerpoint]

Edward Lloyd, Two Hunters at a Water Trough

[frimleyblogger]

What Is The Origin Of (292)?...

What Is The Origin Of (292)?...A1 and its connections with shipping of the finest quality, as per Lloyd's of London

A1

I worked for most of my career in the insurance industry in London. During my time that curious mix of private and corporate capital channelled into annual businesses called syndicates operating under the organisational umbrella of Lloyd’s was considered to be the bee’s knees when it came to underwriting and accepting risks. I was never quite so convinced that it really merited its…

View On WordPress

[body-in-revolt]

Performing Nothing

Edward Lloyd

ICK dancers Edward Lloyd and Sophia Dinkel started rehearsing with Kris Verdonck for SOMETHING (out of nothing). Edward shares his experiences after a workshop to prepare them for this process. 

Performing ‘nothing’ can be incredibly challenging, as we discovered during our first meeting with Belgian theatre maker and visual artist Kris Verdonck.

During our three day workshop we looked to Samuel Beckett, David Lynch and Japanese Noh Theatre for inspiration, while ideas of tragedy, comedy and absurdism began to materialize. Using Verdonck’s existing piece Untitled (2014) as a starting point, we found ourselves inside mascot-esque Mickey Mouse heads in which we had to perform through a new - and at first rather amusing - dehumanized identity.

In Untitled (2014) Verdonck presents us with a mascot who is thrown on to the stage with no real purpose, other than to entertain his audience. He must entertain, not through will, but through circumstance. It is simply what is expected of him. Described by one critic as “a play where hardly anything happens”, the piece is meticulously choreographed down to the second (literally), where even a shrug of the shoulder or an uncomfortably long -but not too uncomfortably long- silence bears great significance.

As we attempted to embody the sentiment of the aimless mascot, an instinctive sense of timing was at play. With our field of vision and perception of space distorted by the mouse head, we needed to have an elevated awareness of what we were creating from the perspective of the audience. A simultaneous visualization of the body (including its costume) both from inside and outside of the mouse head. As a dancer, lifting a finger may feel seemingly unsatisfying, but in this case, it could be all that is necessary to communicate with an audience. That is, if it is done within the correct context.

So, as it happens, performing ‘nothing’, is very much performing ‘something’. Developing this dual perception of the body, and differentiating between how a movement feels and how a movement is perceived, I imagine, will be one of the concepts to further explore during the creation of Verdonck’s latest piece Something (out of nothing).

In SOMETHING (out of nothing) the performers will share the space with robots, as the distinction between living and non-living bodies becomes increasingly obscure, and the idea of ‘the living object’ becomes a reality.

Verdonck continues to challenge his audience. An ever expanding commentary on the vulnerability of the human, in an age where the commodification of everything and everyone saturates our society.

For more information about the performance and tour dates, click here

Photos © Kris Verdonck/ A Two Dogs Company

[body-in-revolt]

Double Skin/Double Mind#1: Ways of Documenting and Reflecting

Edward Lloyd

After several weeks of both leading and taking part in the Double Skin | Double Mind open classes, I have found that reflecting on the experience is highly valuable in terms of developing not only my practice as a facilitator but also my personal development within the method.

I have been considerably influenced by the work of Bertha Bermúdez Pascual and Anouk LLaurens with regard to their approach to dance documentation. Specifically the workshop set up by Anouk LLaurens entitled "Drawing as a tool for poetic and polyphonic dance documentation", where participants are invited to draw the experience of revisiting a particular movement exploration.

During the last DSDM open class I decided to try out this idea of documenting dance through drawing. My initial idea being to participate in the class and take several short breaks to sit and draw. In effect, documenting live movement as I saw it. However, I found it quite difficult to participate physically from the inside and observe from the outside, so I decided to take ten minutes at the end of the class to revisit the experience both from an internal perspective (how I experienced the movement) and from an external perspective (how I experienced the participants around me moving).

What I find interesting about this way of documenting and reflecting is the immediate response to the experience of moving. I was not preoccupied with creating images on the page, but more with reproducing an honest memory of the way I perceived myself and the bodies around me.

Below are the images that represent my perception of the different stages of the class (Jumping, Expanding and Reducing).

Jumping:

Expanding:

Reducing:

Edward Lloyd studied at Rambert School of Ballet and Contemporary Dance (UK) graduating in 2012. As a freelance dance artist he has worked with choreographers including Tina Tarpgaard, Lea Anderson and Henri Oguike, among others. Edward was a member of the ICK ensemble from 2014-2015, returning in May 2017. Together with colleague dancer Arad Inbar he gives a monthly open Double Skin | Double mind class at the ICK studio, as part of their DS|DM teachers training.

The next open class will take place on March 15. More info

[body-in-revolt]

Video portrait of ICK dancer EDWARD LLOYD

By Jasmijn Schrofer for ICK

[mietziekatz]

54 and 98 for Ludwig / 70 and 76 for Edward / 23 and 52 for Cathy :>

Ludwig:

54. How do they cope with sadness?

Thinking of nice and happy things and spending time with people he likes.

98. How do they calm themselves down?

Sitting in his favourite armchair by a carmine and drinking some nice tea.

Edward:

70. Do they like themselves?

Yes and he is a really self-confident person.

76. What are their goals?

Becoming the owner of the fun fair in the town someday and selling more of his own toys!

Cathleen:

23. Do they like children? 

Yes and she actually dreamed of starting her own little family someday.

52. Are they more emotional or logical? 

I would say emotional.

[mietziekatz]

sooo which one of Mari and Edward is the oldest one? or they're both at the same age? :0

Edward is the older one, but I’m still thinking about his age so he is about 25-27 years old and well Mari is 19.^^