M. Mercedes Searer\ Choreographer\ dancer\ personal trainer

Mercedes Searer is a Brooklyn based dancer and choreographer. Mercedes makes things. Pots, and plates, dances, collages, and quote books. As a maker she is interested in the kinetic energy of the object; its rhythm, its illusion to meaning, and the metaphors it presents for life itself. In all of her work, asymmetry, the verge of collapse, humor, irony, and pain show up repeatedly.

Since arriving in New York in 2009 Mercedes has worked for such greats as Elizabeth Streb, Sara Rudner, Twyla Tharp, Steve Paxton, and Kathy Westwater, among others. She is currently working on three projects, “I’d Rather the Ocean” with Sonia Lopes Soares, “Stand by Your Plan” with Macklin Kowal and “ˌRēkənˈteks(t)SH(əw)əˌlīz/,” a collaboration with visual artist Bibiana Medkova. She trains with her mentor and renowned ballet teacher Janet Panetta.

Mercedes’ artistic practice centers on assumptions around identity. She seeks to invest in the notion that bodies are perpetually engaged in processes of biological, social, and cultural performance.

STATEMENT

As a choreographer my interest lies in the vast information stored within our bodies. This includes inherited information, which if left unconsidered will unconsciously communicate the culture of established institutions or if considered, can be manipulated to challenge assumptions of self.

As a performer I am interested in a performance practice that questions the assumptions we hold in our bodies about ourselves. Assumptions that determine physical organizations that we “put on” to communicate “ourselves.” I believe that it is through society’s expectations coupled with occupying habitual and repetitive roles that we grow accustomed to performing a self that can be said to be no more or less valid than any other.

My work explores the gradation of performativity, playing with the dynamic range between pedestrian to hyperbolic performance states. The basis of my artistic practice shifts through these states of performativity by occupying various physiological and psychological states and the various rates that this can happen.

I seek to invest in the notion that bodies are perpetually engaged in ceaseless processes of biological, social, and cultural performance. As a rule, my work is meant to challenge both the audience’s and performer’s sense of engagement with these expectations. An increased range of possibilities will become increasingly more available for us to perform within ourselves and view among others.

-M.

ercedes Searer

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