Please Note:  Sadly, my website was hacked and much of the recent information has been reverted to older versions, recent information deleted and formatting changed: so sadly, it is not up-to-date…so, please bear that in mind as you peruse about…I am aiming to rectify the problems as soon as possible.  Your understanding is appreciated, Bronwyn.

the interplay project: surface rupture...

Surface Rupture:
                                     a collaboration with media and sculptural artist Laurel Terlesky


Surface Rupture focused on discovering aspects of embodied experience articulated by the boundary of touch -- by way of improvised performance within -- and in response to -- a situated environment built of objects and projections made by Laurel Terlesky.  Both of our artistic research weaves a narrative between tacit recognition while challenging familiar and perceptual fields. This multi-disciplinary project manipulated the body with projection and objects to explore the liminality, ephemerality and materiality of a ‘self’.

 Surface Rupture consisted of two separate and entirely different 10-minute performances, forming part of the Interplay Projec(Vancouver, October 24/25, 2014).

(Sadly, as is the case with videoing performance, this 6 minute video of excerpts from the Oct. 24th performance fails to capture the feeling and extent of the projections….but it does offer a wee taste of the experience….)

Audience Feedback:

"Smart, poignant, and human. The interplay between Bronwyn Preece’s improvisations and Laurel Terlesky’s sculptural objects and projections highlight the tenderness and vulnerabilities of our own bodies. At once both heartbreaking and humourous, Surface Rupture explores what it means to be broken and what it means to be cured."                                                                                                                                                -Bren Simmers, poet

“I had the chance to see Surface Rupture by Bronwyn Preece and Laurel Terlesky at the Interplay Project. This was one of my favourite collaborations. The combination of sculpture, projection and lighting with Bronwyn's amazing improvisation skills was unlike anything else I've seen. I appreciated Bronwyn's ability to spontaneously respond to both current events and her immediate surroundings with humour and heart while working seamlessly with Laurel. A unique, provocative and playful performance with some beautiful visual layers.”                                                                                                                              - Amal Rana, poet and performance artist


An improvisation to give gratitude for yours.

The piece before yours was interesting but felt quite raw and incomplete to me.  It took something that happens in my home, many homes every day, people playing Just Dance and Rock Band together, and moved it into a black box space, heightening our consciousness of it as peformance.  Further we heard narratives of brokenness and transformation- the boy with an orchid in a broken pot, the Japanese art of mending shards with golden glue, enhancing an irreparable rupture.  I felt the piece was interesting, but not that it was art, not yet.

When you came on, the noise, the cacophany and multiple dancing bodies and narratives, disappeared and all resolved on your singular form in the simple white dress, a distillation of humanity, as if your form were the form of a soul.  I did not know you were improvising.  When the boy came into your story, the orchid, it was such a blessed surprise.  Aaah, this is the second movement, the slow reflection and meditation on that first allegro of a Sonata.  I truly thought you were part of the previous performance- the part that made it art, an expansive, transformative imagining.  You were moving between illumination and darkness, the cloth projection on your dress was orchid, You were Orchid. your body, your limbs, your shaking hands, witness to beauty, to fragility, to the ephemeral. You were mirror human flower.  You were projected into the dark cavity where my orchid had been beating, wilting more than blooming of late.  A pace maker.  A piece maker.  A peace maker.   Andante.  Restoring a rhythm I know and can sustain.  A vision of how it will be when I walk out of the brutality that has been my home into the kinds of hearing, knowing, singing and ceremony for which I have been Created.”

                                                                                        - Seemi Ghazi, UBC Classical Arabic Lecturer and Sufi singer