As an artist and academic, Lindsey Drury creates systems in which bodies and their function are conceived, deceived, received and perceived anew. The type of systems may largely be grouped in two: speculative and empirical. In most cases, Drury pursues the former as an academic, delving into the study of historical conditions and processes concerning ideas of body and its attributes, while dealing with the latter in her dances and performances, where she composes an assemblage of elements which becomes triggered by the inclusion of human performers to unfold in an unforeseeable manner. The binary, however, is merely a facade, since Drury cannot help but consider her scholarship from the perspective of movement, and always grounds her works in articulation via language. In the end, therefore, it is Drury’s own movement and body between these two poles that she places at the core of her approach to dance.

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