I first saw Miwa perform several years ago in LA, her home base. I was immediately mesmerized by the imagery, soundscape and her presence on stage. I was captivated then and remain so.
Miwa works at the intersection of performance and media. Her art exists in a dreamlike visual space that makes invisible worlds visible, often weaving surreal and poetic narratives of conflict between humans and nature. Her work is at the cross section of cinema and theater, fantasy and reality, the highly technical and handcrafted. She takes a decidedly different approach to our society’s fascination with screens.
Miwa is described as an animator, designer, performer and director. I find it fascinating that while I’ve never seen dance mentioned in conjunction with Miwa or her work, she thinks like a choreographer. Her inspiration comes from asking herself: “How does my body feel to imagine and embody the physicality and perspective of something outside of myself, both animate and inanimate?” Her performance is an embodied experience. She raises the barre.
Connecting to our Bicentennial Series, Miwa’s performances – with their themes of environmental havoc – connect to our larger celebration of Maine’s sense of place. Thinking about our waters, we are hosing an Ovations Offstage community panel discussion: “Glorious Visions of Maine’s Watershed.” Additionally, Maine students will have opportunity to engage with Miwa’s creative process.
Finding unique and meaningful connections to the artists we bring inspires us. Your curiosity further inspires us and makes it possible. Thank you.
Aimée M. Petrin
Executive & Artistic Director
Latest posts by Aimée Petrin (see all)
- In Solidarity - June 3, 2020
- Performance Notes: AURAL EXPLORATIONS: FARRIN, FURE, AND MESSIAEN - May 27, 2020
- Performance Notes: Toto Kisaku’s “Requiem For an Electric Chair” - April 10, 2020