Originating from internal physical processes, Moriah Evans’ Figuring takes micro movements as method. Through the engagement of energies, reactions, and interactions, three female performers make visible and audible internal systems in order to pitch them against the external forces of space and other. Control and loss of control become the borders that the performers traverse in a series of measured movements that attempt to reconfigure the perceived cohesiveness and stability of the human form. Through pacing and scale, physical gestures make malleable the inner qualities of the body, as well as the sensation of time. Figuring brings forth the unseen, yet felt, world of bodies and space.
Evans examines various methods and manifestations of contemporary dance within her work. By analyzing the recent history of the discipline as artifact, she isolates and reconfigures aspects of its material and cultural legacies. Deconstructing protocols, production mechanisms, modes of staging, and public perceptions, her choreographies navigate the potentials for utopic sentiments, as well as dystopic tendencies, inherent within performance as a collaborative form. She approaches her pieces by moving between the often opposed realms of minimalism and excess, emphasizing the corporeal aspects of both.