Helices

Movement

6

provocation

In her Movement 5, Binda created an installation of a life-size paper body suspended over an anatomically correct arrangement of clay organs

response

Jenny

It is being such a pleasure to collect the seeds and blossoms of the different vines that are twining through this project.

Movement 5 marked a major shift for me in this project. When I walked upstairs to Binda’s studio and saw my own (paper) body suspended from the ceiling and grounded to the floor, not just red threads of aliveness but thick red yarn of aliveness coiling down open all my (her, our) organs laid bare beneath — the game had changed. Binda’s vision, and her craft, was an invitation to something so much larger. I had to step up. I wanted to become.

Standing looking at her installation, I had spoken aloud the words, “the body and the story of the body.” The solidity of the organs, the innards in their body-cavity colors, juxtaposed with the delicate paper outline that hung above, literally scribed with words and flowers. The body and the story of the body. How do those live together, inform each other? Are they separate, or inseparable?

The antecedents to some of the lyrics:

A few days after our fifth Cross, my son got a tattoo of a dahlia and a hibiscus on his forearm. I wanted to know why flowers, why those flowers. Surely there was a story? “They’re pretty,” he said. “When I’m eighty, they’ll still be pretty. It doesn’t have to mean anything more than that.” On the contrary, I thought, what could mean more that?

My husband has a tattoo, too — a yin-yang symbol on the back of his shoulder. It’s been there for years, though, and it’s spread and faded some, so it no longer looks like the yin-yang. Instead, it looks to me like a moon.

Many of these lyrics derive from advice or direction offered by Jonathan Stancato of the Inside Voice studio.

The middle, spoken words are all quotes from Binda’s previous movements.