Artist: Anne Wilson

I have become particularly inteterested in her different takes on her performance piece "Wind Up: Walking the Warp"

1. Anne Wilson, Wind-Up: Walking the Warp, 2008, A video documentation by Jeroen Nelemans (7:09 min)
   A collaborative performance at Rhona Hoffman Gallery, Chicago, January 2008. http://www.annewilsonartist.com/windup-chicago-dvd.html
2. Anne Wilson, Wind-Up: Walking the Warp Houston, 2010
   Video documentation by John Carrithers (6:35 min)
   A performance with the Hope Stone Dance ensemble at the Contemporary Arts Museum Houston
   http://www.annewilsonartist.com/windup-houston-dvd.html Wind-Up: Walking the Warp Houston was a two-part performance in conjunction with "Hand+Made." Wilson partnered with the local dance ensemble, Hope Stone Dance, to restage this conceptual choreographic work based upon weaving. The color and stripe pattern were a conjunction (or mashup textile) referencing hand-woven West African cloth and commercially woven French beach stripes. The fiber was all donated surplus from textile mills in the United States. After the second June 27 performance, the piece existed as a sculpture for the duration of the exhibition.
3. Anne Wilson, Walking the Warp Manchester, 2012
   Video documentation by Jess Shaughnessy, iCity Media, Manchester (10:17 min)
   Whitworth Art Gallery, Manchester, England  http://www.annewilsonartist.com/performance-dvd.html Wilson’s movement performance Walking the Warp Manchester was staged February 25, 2012, from 1-5 pm at the Whitworth Art Gallery in Manchester, England within the exhibition COTTON: Global Threads. Working with composer Shawn Decker, collaborating choreographer Bridget Fiske, 21 dancers from The Lowry Centre for Advanced Training in Dance, and textile students from Manchester Metropolitan University, Wilson choreographed accumulations of repetitive movements relating to the weaving process. The interaction of bodies in space metaphorically becomes both a textile and a soft machine, responding to the deep histories of cloth production in northwest England. Performing labor as a meditation on the complex subject of textile production today is a critical foundation of this work.

Rhythm and order:

• The main points that I am interested in these performances is the rhythmic process that the actors are going through to create a work that Wilson herself has a visual of image in her head. There is a systema nd an order to their actions to ensure that this work is executed properly to produce a desired outcome.
• Each work is different in its entirety, approaching this idea of weaving in a slightly different manner. I am interested to see that although they are all different there is still clearly and order to the performance and a rhythm that they are all in time with each other.