I once read an enigmatic description by Hugo Ball, of Taeuber-Arp dancing between two Kandinsky paintings. Taeuber-Arp had become a conduit for the rhythm of the two paintings, creating a new work of bodily kinesis that transposed the alive forces from within an object to a body.

 

The idea became a driving force for my work, To Eat Glass, instructing the dancers to replicate and become conduits for the painterly form on their exteriors.  Later though, when I tried to write about it and re-borrowed the book to find the quote from Ball, I realized that it never happened. 

To Eat Glass is a work of biomorphic abstraction, focusing on the kinesthetic qualities of still shapes, the work evolved to be a suspended sculptural painting that dancers de-construct and reconstruct onto their bodies, so that an audience may find the work hanging in a museum or it may have walked outside to have a dance.