Known for working in a variety of contexts and media, Rosemary has created large-scale site-specific works with cross-generational casts, solos for herself and other performers as well as video installations and short films for BBC.
Recent works include Under the Vaulted Sky commissioned by The Stables for Milton Keynes International Festival, Liquid Gold is the Air – a three screen video installation and winner of the Light Moves Festival prize, Without, commissioned by and created with Echo Echo Dance Theatre Company, a seven-screen video installation with sound score by Graeme Miller. It captures a panoramic view of the city of Derry/Londonderry as 400 of its inhabitants dance and move through the streets. Rosemary and artist Simon Whitehead recently created Calling Tree, a durational performance cycle of songs, movement and messages, e in and around a mature tree in Tottenham as part of LIFT 2016 and then in tall London Plane trees for Bloomsbury Festival and The Place Autumn 2016. She is currently working on a new work for 2018 in Cornwall and planning a series of events- On Taking Care, to mark her 30 years as a choreographer exploring care in many contexts with contributions from experts across many disciplines.
Rosemary also writes, guest teaches and lectures internationally. Recipient of both a Bonnie Bird Award and a Jerwood Choreographic Research Project Award in 2013, she is an Artsadmin Artist, a Work Place artist, a DanceEast Artist Associate 2015, a Senior Research Fellow at C-DaRE Coventry University, a ResCen Research Associate Artist (Middlesex University) and holds an honorary doctorate from Roehampton University.
First and foremost I try to remain a maker of works for strangers to experience. My work, whether it be a film installation or live, is created for and in many contexts, from the streets of Derry Northern Ireland to the boughs of an ancient oak tree in Tottenham. The performers maybe hundreds or just one, trained or untrained, young and old.
The variety of my practice raises many specific questions for each project and audience but also more over arching questions of what remains the same, and what is at the heart of what I am doing in all senses, regardless of the changing media or constituencies. I am curious about the individual and the ensemble or collective, the creating of a community and illustration of it in the works themselves, the way the work engages a knowing audience in comparison to someone who stumbles across it, the responsibility I have for the casts and the audiences experience, the role language plays in facilitating movement and how our physical and sensorial knowing of the world shapes language. I’m curious about how the radical -politically and artistically- can be inherent in the so called dance world as can its opposite and how we might tackle some evident and hidden inequalities.