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Dancing does add to my work, it's just what I do.
Its sort of, it as important is eating sleeping to me.
Moving, the choreography,
dancing. I don't dance on this stage. I dance for pleasure and
again, I have my teacher, Karina Lot, in San Antonio to thank
and also a teacher that teaches here on campuses, Susan Matthies.
I currently take class from her at another location
and her choreography is, she comes from a modern background in jazz and so
there's a little Bob Fosse in the air.
But her choreography, when she says you know, open out,
and open your arms this way, you know I
I see a shape. Shapes and line
and rhythm you know. To me drawing and dance are very close.
And since drawing I never go anywhere without my sketchbook.
Drawing is really at the base. I always make a lot of sketches before I begin
painting
and many ofthem are maybe what we did in
dance class. I might draw of how it felt
to do that choreography and then I look at my drawing it becomes something
visual that I can then translate into a painting.
So sketchbook you know
feel it, sketchbook, and if it looks to stiff,
if my paintings became to resemble
something that's just a copy of my drawing, or
it's got to have life to it. So maybe that dance
experience comes in
there as well. I like my paintings to have,
they're really about energy, you know. Energy-rich
imagery, movement
You know a sense of mystery.
so yeah the dance
the dance enters into that you know the experience of that
and then also just feeling it. It's
a part of it that way.