about
Kate Watson-Wallace is an interdisciplinary artist who works primarily between New York City and Los Angeles as a director, choreographer and movement director for live performance and media. Choreography credits include: St. Vincent’s performance of “Los Ageless” on the Late Show with Stephen Colbert, Alex Da Corte’s Rubber Pencil Devil at the Carnegie International & Venice Biennale, St. Vincent’s “New York” video, (dir. Alex Da Corte), and music videos for Animal Collective, Panda Bear, Black Dice (dir. Danny Perez) and Xenia Rubinos.
Recent Directorial/choreographic projects include a re-imagined version of Allan Kaprow’s “Chicken,” by Da Corte and Lisel’s music video for “Immature,” , movement direction/performance in Bakudi’s Scream’s “Our Prayers are made of Silicon” at the Gaudeamus Festival (Utrecht, Netherlands) and throughout Europe.
Her performance/installation work has been funded by multiple foundations nationally including, Map Fund, Doris Duke, Creative Capital, Pew Center for Arts & Heritage and the Foundation for Contemporary Arts, with premieres at venues including Summerstage Central Park and Redcat. Recent residencies include Gibney Dance Center and Movement Research in New York City. She is a Pew Fellow in Choreography.
She holds an MFA in Studio Art from the School of the Art Institute of Chicago.
artist statement
Kate is an interdisciplinary artist working across media and sectors– as a choreographer, director, and designer of immersive on-line and in-person bespoke experiences that merge performance, design, and social gathering.
She creates interactive performance, installation and on-line experiences that engage the audience body through a variety of sensorial practices. This research is a way to create virtual, physical and energetic spaces for audience members to re-connect to their own embodiment, adventure, and community.
This work comes out of queer, feminist, punk, and sex work traditions.
Her performances/video work are built out of solo and collective improvisation practice with garment, set, and electronic music. Sourcing from the intuitive, the practice connects us to ritual, pleasure and the ecstatic.
She is practicing a performativity of objects/body that is in flux, always becoming, always un-doing itself. These sensorial choreographies are developed from a place of play, experiencing the notion of “play” as radical practice. In this research, they play inside contagiousness, desire, failure, wildness, invisibility/visibility.