ALEXANDER LYLE IV“Nadi’s Breath” presents a collection of physical art works made in collaboration with an unnamed river mouth in the town of Ashvem, Goa India. Collaboration because each of the images and performances in this collection are a mixture of my own body’s history and the history of the river itself. I speak here of history not as a linear tale laid out in paragraph, phrase, thought, or language but as the unspoken unremarked changes inherent in the passage of time. As I breathe the minutes, hours, days, months, years, decades of my life come and go much as the tide silently marks the the life of the river mouth. I am honored to have this opportunity to build a relationship with this surprising and beautiful piece of our world. I can only hope that this work will draw others to find their own connection and inspiration in nature.
I began my creative career as a dancer, using my body and its relationship to space, movement, time and others to explore the boundaries between subtle consciousness and the physical experience. Over time my medium of exploration has grown from traditional dance forms to include performance art, sculpture, film, photo, and the written word. Through these various mediums I have delved into our perception the 4th dimension: time.In performance, sculpture, and video the 4th dimension helps me to understand how we inhabit the 3rd, our perceptual, dimension. In my work (performance, sculpture, and video)I find myself continually returning to movement; change, growth, and decay are all forms of motion made possible by the 4th dimension. Concepts of event and simultaneity further allow me to investigate how we share our experience of both the 3rd and 4th dimensions. At times these explorations appear literal as in duration-based performance works, at other times more abstract – such as a physical object that is a reaction to, or a direct product of, a 4th dimensional perception. The goal of all this is to use creativity to dig into the difficult to describe and bordering on impossible to quantify human experience of time and the present. As I see it to begin to understand time and ones relationship to it is to begin to answer some of our most enduring questions: where we come from, and what is right NOW. Questions so fundamental that they side-step all cultural boundaries and appeal directly to humanity at large. Here science becomes human and art informative.