We were talking about today and how gray is your favorite color

Recording 1 

EN - We were talking about today and we started talking about the weather.  It’s very grey and how it’s your favorite color.

And then we talked about grey as not being black or white but it’s all the in-between things.  Not just going to extremes.

Being a painter, I talked about how I make black out of red and green and how it becomes a very different grey when you add the white and how you can shift it into different greens and reds.  And So, there is more to grey than just not being black or white, it has all these subtleties in it of color.

HH - That furthered my appreciation for grey.

1:00 EN - And then at the beginning you mentioned, which I really liked, the importance of how you enter something, whether you start warming up, and you were telling me that here they are all about taking care of your body so you need to warm up but once you start warming up you start repeating what you already know versus entering into a situation and just experiencing that and not thinking of how to start but already having started.

HH - Yeah

EN - And you said you liked that, so I said well, come back in, enter again.  And while you were doing that, I actually did the warming up.  I started stretching my arms, and things like waiting, instead of starting.  But the difference for me is that when you come in, you come in with an energy and when you start, you start with an energy and I generally take that energy and start my painting.  I don’t have a place to start.  I start where you start.  Or take what you are doing and convert it into something else.

2:13 HH - And the music too was, visiting an artist I knew and there was a suggestion of an artist that I did not recognize and clicked on that, and then I think it also added to the spontaneity of that moment.

EN - You are saying not knowing what the music is going to bring.  And then we were also working with spoken word.

HH - Oh words, which was kind of different.

EN - So how was it different for you to work with the words rather than the music?

HH - Words sometimes give me a pop of imagery or sensation.  Music does that too, but words kind of like, it’s a bit more of a dart at you.  They kind of stick a bit or they kind of hit you in a certain way and that induces a certain flow and stimulus in moving.

EN - Your association or the way a word sounds or what would you say?

HH - Both, sometimes going on the way the word sounds, what it reminds me of, how the person is saying it. Sometimes I misinterpret what they said and it takes me on another thing

EN - We were talking about thinking versus intuition…and working on something from…. well it always comes back to are we repeating ourselves and working from what we know or are we trying to work from something else and letting things flow.

And going into the chaos…

HH - Yes, the chaos

EN - And if it was possible to be comfortable in chaos and how the limit, the border into chaos, complete chaos is different for different people.

How comfortable or how long are you able to stay in that chaos or are you able to create in that chaos or do you immediately find that you need to find a balance or head towards some sort of balance.

You were saying that you were aiming to be able to stay in that chaos for a little bit and not knowing. Right?

HH - Yes, because it had something to do with predictability.  To be in that chaos there is a lot of unpredictability which is a sensation I am sometimes trying to find and then we talked about

How does predictability play a role in your work? Or does it?

EN - There's a difference when you start the work, and you know what you're going to do versus starting the work and letting it, the work itself lead you on to the next step. So if you're, if you know what you're going to do, then, you're not really creating, I think. I was rethinking this concept the other day, it's the concept of manufacturing, versus creating something. When you manufacture you're just repeating what you know, and creating a final object out of, like you know what the final object is and you just take the steps to create that again. And I think that in the creative process, when you're painting, it's like a painting as a result of like, a process where you're trying to, where you don't know what's going to happen. You have like, sure, I want to paint a landscape. You start with something but you can't say, and this is what it's going to look like exactly, because then you already know. And so you're not working through it. And you're not letting, I think we were talking about, you were saying, the audience or the way you were feeling that day, or this space being smaller, things like that influence your work.

HH- Yeah.

EN- So, you've got that in dance as well? Or is it somehow different? Because you have to repeat it?

HH- Yeah. Well, I guess it depends. But as you say, like, like, say, if there's a choreography, choreography phrase, that you have to repeat with each performance. And, I think when the body gets too comfortable with it, the movement and the phrase and when you know it so well that it becomes almost autopilot to where you're just hitting the steps and accounts. Then it becomes like a manufactured product or it reads, to some it may read as manufactured. And I think, from the movement school I'm interested in, is how does the movement arises out of the mover, where there's no, there's no blockage. It's just a clear sending from the inner to the outer, without the obstacles.

EN- by obstacles like, having to think about it or getting stuck in somewhere,

HH- It's like watching a mover, and you can see both the person and the movement, if that makes sense. Like to know that you're watching someone dancing, but at the same time, they're they're not quote dancing, the lines kind of blur, you know, where this is just a human moving through an experience. And it's just you there witnessing this person and watching their flow.

EN-