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CALLendar.
Bio
Nobody knows Christin Call, the
choreographer/dancer/poet/visual artist. Mostly for existential
reasons. Also insufficient branding. She received her BA in Painting
and Art History from Wichita State University in 2004 and has exhibited drawings, paintings,
books, photographs, and sculptures in the Midwest and Washington, as well as co-curated
exhibitions at the Ulrich Museum of Art and Project Gallery (KS). Her works are
in private collections across the United States, and her poetry has been published in
literary journals. She was featured as an emerging poet by the Boston
Review with a personal foreword by two-time National Book Critic Circle award
winner Albert Goldbarth for her series of visual poems that utilized her own invented
language, later exhibited at the Ryan James Gallery (Bellevue, WA). She has
self-published two collections of poetry, The Mountain? The Mountain in
2008 and cede the crown palaver (failed attempts, false starts, and a sincere
apology) in 2014, which was also sold at Open Books in Seattle,
WA. She has also written catalogue essays for the Ulrich Museum of Art and
written critical essays for such publications as Review (Kansas
City), F5 (Wichita, KS), SeattleDances, and STANCE: a journal of
choreographic culture (Seattle).
As a dancer, she received her classical training in the Cecchetti method from Nancy Hervey and Jill Landrith of Wichita, KS, supplemented by studies at the Harid Conservatory, Kansas City Ballet, and Milwaukee Ballet, as well as attending a Gaga Intensive in New York with Co-artistic Director Adi Sawant. She has worked as a principal artist at Metropolitan Ballet of Wichita, Evergreen City Ballet, ARCdance, and Olympic Ballet Theatre dancing classical roles such as Sugarplum Fairy, Snow Queen, Giselle, and Myrtha. In the contemporary realm she has worked with choreographers such as Jason Ohlberg, Catherine Cabeen, Selfick Ng-Simancas, and Daniel Wilkins, as well as danced in Seattle Opera's production of Pearl Fishers. Christin is currently a Co-artistic Director and dancer of Coriolis Dance where she has created roles in works by Zoe Scofield, Joshua Beamish, Ezra Dickinson, Rainbow Fletcher, and Natascha Greenwalt, among others. Christin’s work try to hover (or Private Practice 7) was performed by Coriolis and presented at On the Board’s NW New Works Festival 2011. She was a recipient of Project: Space Available’s 2011-2012 Artist Residency where she created a performance installation work called An apology for Zeno and the alchemical pattern which included painting, time-based sculpture, crocheted installations of the artist’s hair, and a performance with a milk-filled pool and pigment. In 2012 she and Natascha Greenwalt received Open Flight Studio’s Flight Deck residency to begin their co-choreographed work Insofar as the landscopic field report. In 2013 received a year-long residence at Studio Current, Seattle, WA to expand it into the full-evening work Unfixed Arias, which previewed at the Belltown Collective in May 2014 and premiered at Open Flight Studio in April 2015.
As a dancer, she received her classical training in the Cecchetti method from Nancy Hervey and Jill Landrith of Wichita, KS, supplemented by studies at the Harid Conservatory, Kansas City Ballet, and Milwaukee Ballet, as well as attending a Gaga Intensive in New York with Co-artistic Director Adi Sawant. She has worked as a principal artist at Metropolitan Ballet of Wichita, Evergreen City Ballet, ARCdance, and Olympic Ballet Theatre dancing classical roles such as Sugarplum Fairy, Snow Queen, Giselle, and Myrtha. In the contemporary realm she has worked with choreographers such as Jason Ohlberg, Catherine Cabeen, Selfick Ng-Simancas, and Daniel Wilkins, as well as danced in Seattle Opera's production of Pearl Fishers. Christin is currently a Co-artistic Director and dancer of Coriolis Dance where she has created roles in works by Zoe Scofield, Joshua Beamish, Ezra Dickinson, Rainbow Fletcher, and Natascha Greenwalt, among others. Christin’s work try to hover (or Private Practice 7) was performed by Coriolis and presented at On the Board’s NW New Works Festival 2011. She was a recipient of Project: Space Available’s 2011-2012 Artist Residency where she created a performance installation work called An apology for Zeno and the alchemical pattern which included painting, time-based sculpture, crocheted installations of the artist’s hair, and a performance with a milk-filled pool and pigment. In 2012 she and Natascha Greenwalt received Open Flight Studio’s Flight Deck residency to begin their co-choreographed work Insofar as the landscopic field report. In 2013 received a year-long residence at Studio Current, Seattle, WA to expand it into the full-evening work Unfixed Arias, which previewed at the Belltown Collective in May 2014 and premiered at Open Flight Studio in April 2015.
Artist Statement
My work exists at the intersection of dance,
performance, sculpture, installation, film, drawing, painting, and poetry. I am
constantly in flux with these many modes of artmaking and am interested in the latticework
of layering these forms, so that each retains the powerful density of its form, but is woven
into a larger framework.
Like you, I am a being that can’t help but search for meaning in chaos, randomness, and circumstance. I am interested in the discoveries that are made in the cognitive process from observing non-order to finding patterns to constructing meaningful narrative. The artistic road from chaos to meaning, for me, is paradoxically built by setting parameters and arbitrary rules for identifying places of anomaly within a working system and manipulating them in a material way. Sometimes this means driving a nail in a piece of wood in the place where a reclaimed frame has been damaged. Or outlining an area on a collage where the layers of paper have wrinkled or separated.
All of my work, regardless of its form, exists as acts of transferring the psychological to the physiological. Artmaking is stimulated by inquiring into and opening the ambiguous wound that is our reality, and through the repetitive process of handling and layering its blood and pain and trauma, transforming it into something more manageable. Something tangible with borders we can see and feel with our hands. Patterns, charts, constellations, movement of the body, an image, words and sentences on the page.
Like you, I am a being that can’t help but search for meaning in chaos, randomness, and circumstance. I am interested in the discoveries that are made in the cognitive process from observing non-order to finding patterns to constructing meaningful narrative. The artistic road from chaos to meaning, for me, is paradoxically built by setting parameters and arbitrary rules for identifying places of anomaly within a working system and manipulating them in a material way. Sometimes this means driving a nail in a piece of wood in the place where a reclaimed frame has been damaged. Or outlining an area on a collage where the layers of paper have wrinkled or separated.
All of my work, regardless of its form, exists as acts of transferring the psychological to the physiological. Artmaking is stimulated by inquiring into and opening the ambiguous wound that is our reality, and through the repetitive process of handling and layering its blood and pain and trauma, transforming it into something more manageable. Something tangible with borders we can see and feel with our hands. Patterns, charts, constellations, movement of the body, an image, words and sentences on the page.