Founder’s Day – Blue Mirror

Founder’s Day – Blue Mirror

1 hour of stillness, 2 performers

1 hour of mirroring, 8 performers

“Awesome!  Addicting!” 

 “Stillness was difficult at first, but then it got easier.  Reflecting movements was very meditative, and time flew by.  I was surprised when it was over.”

“The best part was when little kids came up to me and touched my hands or tried to make eye contact with me.  They were enthralled by the stillness.”

“All of my focus had to be on connecting with John and moving with him, especially as it grew dark and my depth perception started to fail.  At some point, it was hard to tell if fingers were moving and hard to tell which arm was in front of the other.  An hour is a long time, but really not as long as I expected.  I noticed my left arm growing tired and realized almost subconsciously that John and I are both right-handed, but because I was mirroring, my left arm was moving more and resting less.”

 “Observing people’s reactions to the fountain blue people from the 2nd floor was wonderful.  Kids had the best reactions, from going over and holding people’s hands to noticing the reflections and loving it.”

“It was very interesting on founder’s day for me as it didn’t quite go according to plan.  Since my partner was already on the fountain, I decided to go on the balcony – which wasn’t the original plan, and my partner starting moving with a different person.  Nevertheless, I followed his movements and tried to send all my energy towards him.  I could tell that he wasn’t picking it up though.  For me this hiccup added a fun element to the performance.  I felt like a spy, or better yet, an annoying little sister.  I kept sending out ‘I’m here!! I’m here!!’ and meticulously following his movements but he didn’t notice.”

“The paint was empowering – I liked that I was so blatantly in front of all these people and yet so conveniently hidden in blue.”

“I practiced spanning out my vision during the performance.  The balcony felt like the perfect place for panorama vision because it gives way to such an expansive view of the campus.”

At first, Zach and Roxana, who were down below, faced away from those up above, and thus I was free to move however I wanted.  My focus wandered – sometimes I was dancing with the trees but sometimes I was looking down below and watching people move across the space.  I also negotiated the physical cutout of the space, for sometimes my arms went behind, but sometimes they stretched in front, breaking into three dimensions.  Finally, Zach made eye contact with me and I followed his movements.  It wasn’t until we started working together that I realized how much having someone to focus on centered my movement.  We moved together and our relationship evolved into evocative images – sometimes we stretched out for each other.  Then we smoothly transitioned so that I was leading.  Zach and I were very much on the same wavelength and we transitioned from leading to following very easily a number of times.  My eyes were solely focused on reflecting his movement and thus the piece came naturally to me, as I took no notice of the spectators.  When I left, I moved to the left and then returned, moved farther, and swayed back, until Zach could only see my arm, then my hand, then my finger.  I think it’s important not to end abruptly but to fade out of the piece and into reality, and Zach said he appreciated it as well.”


“I was in a good mood by the end.”



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