blue ceiling dancer

Based in Saskatoon, Brian Eames is an evolutionary biologist in the field of cellular development of bones. In the Eames Lab at the University of Saskatchewan, they use molecular genetics and advanced imaging techniques to understand how skeletal tissues develop and evolve. A general focus of the lab is on skeletal differentiation, particularly between bone and cartilage.   Jean-Sebastien Gauthier is an artist born and raised in Saskatoon, the grandson of prominent Saskatoon sculptor Bill Epp. He grew up working and learning in his grandfather’s foundry. At Concordia University, Jean-Sebastien expanded his practice as a sculptor into multi-media and interactive arts experiences. He currently resides in Saskatoon. Together they have created installation works of art combining scientific imaging, immersive art experiences, evolution and a strong desire to inspire people to see themselves in all living things. JS Gauthier and Brian Eames collaboration "Still Life" We spoke over

 Another step towards sharing more concrete thoughts and discoveries from my recent Chalmers Fellowship and Professional Development grant with Canada Council for the Arts: poem #2. I'm not sure if I'm shying away from  prose because now is a time you must have an opinion, but you also must be ready to have it be torn apart. So I don my poetry dress, just as I live in a contemporary dance world where individual interpretation is the goal. This is also the underlying theme of the poem: do not fear mistakes. Don't hold on to them, deny them or beat yourself up about them.  Lucy Rupert in "the animals are planning an intervention" photo by Melanie Gordon lighting by Michelle Ramsay in fallibility It is time to make mistakes. We don’t have to know everything Who ever told us we did?   Birds are flying north And flies are kissing on our glass table And the vines still grow fiercely Despite A wrong word A stumbling haze that spawned An error You recognize it, even as it

Over the past ten years, I have enjoyed interviewing artists and scientists so much that I have not dedicated much of this blog specifically to my own writing. I used to write quite a bit. I wrote and performed my own music at places like Graffitis and the Freetimes Cafe. I wrote poetry and short stories. Sometimes I was published. Like many people right now, I have had a lot of time and space to reflect. I have been writing again. This poem started as a brainstorm for a new solo dance I am creating and its title is a nod to Rainer Maria Rilke. I also acknowledge the soft, Irish nudge of the late John O'Donohue. **** Lucy Rupert in dead reckoning, 2016 photo by Omer Yukseker standing on fishes a fence of slippery parts snaps into shape flat instant grounding             made of lost ideas, the things that don't tether       while soles hang on. the dancer        hard-worked these 25 years       has been waiting unknowingly                          

INTERVIEW WITH PETER CHIN OCTOBER 2019 written and compiled by Lucy Rupert Peter Chin at Pre Rup temple while making dance film (2020) Peter Chin, artistic director of Tribal Crackling Wind, dancer, choreographer and multidisciplinary artist, has been splitting his time between Canada and Cambodia for many years. Currently he is developing a new performance work “Trillionth I”, with dancers and musicians from Cambodia, Canada, Mexico and Italy. “Trillionth I” embodies subtle influences of community hopes and fears to reveal the universal energy between us all, and the healing that is possible through transmission of that energy in live performance. Last summer Tribal Crackling Wind performed excerpts in Allen Gardens and in the fall, performed excerpts of the work in a presenters’ showcase at Fall For Dance North, and as part of Nuit Blanche, outside the Royal Ontario Museum. Although “Trillionth I"  lost its planned trajectory due to the global pandemic, the w