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1st Student's Major

Art

1st Student's College

Arts and Humanities

Students' Professional Biography

Cesia G. Kearns graduated in spring of 2004 from Minnesota State University, Mankato, with a double major. She had earned a BFA in Sculpture and a BS in Open Studies, a multidisciplinary course of study in which she chose to combine Anthropology, Ethnic Studies, and Theatre. Her work includes experience in costume and specialty scenic design for MSU studio productions, as well as work in painting and fibers. Recent exhibitions (2004) include "Curio" at the 410 Project Gallery in Mankato, "Artworks" Spring show at MSU, and the MSU Art Department's senior exhibit. Her love for the arts and her passion for social change has led her also to be a human rights educator. Some of her accomplishments include the Kessel Peace Institute's Undergraduate Fellowship, and organizing "Staging Human Rights", a day long workshop for students to learn about human rights through performance techniques. Future work includes an upcoming artist's residency with Mankato's affordable housing program, and an apprenticeship with German artist Peter Genssler. Her drive to pursue both the arts and education on social justice issues will be a lifelong endeavor.

Mentor's Name

James Johnson

Mentor's Email Address

james.johnson@mnsu.edu

Mentor's Department

Art

Mentor's College

Arts and Humanities

Other Mentors

Thomas Bliese

Abstract

Kinetic sculpture suggests new visual possibilities when combined with dance. Wishing to explore such avenues of interaction for sculpture, this artist sought to develop pieces that could be incorporated into choreography. An artist and a choreographer wove their concepts and styles together to create a performance art piece that rose from the reciprocal influences of interactive sculpture and dance. The creative process included development of concepts, visual imagery, and movement as the artist and choreographer shared ideas. The choreography of the original dance influenced the form, structure, and conceptual elements of the sculpture, which was developed in reaction to the movements. The choreography was then readapted in reaction to the sculpture. The choreography inspired the sculpture’s form; the dance evolved in response to the sculpture. The sculpture created more than just an environment for the dancers; it created a new visual relationship in which the movement and form of both sculptures and dancers echoed each other. The result is a collaboration in which both dance and sculpture transcend their individual art forms to become a symbiotic performance piece. This presentation shares the stages of evolution in the creative process and reveals the final outcome of the piece.

Creative Commons License

Creative Commons Attribution-Noncommercial 4.0 License
This work is licensed under a Creative Commons Attribution-Noncommercial 4.0 License

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