Tessa Pattern Takes a Picture, 2014
Rehearsal Documentation
Lead Dancer and Rehearsal Director: Marissa Ruazol
Laban Movement Analysis Instructor: Ed Groff
Actress: Małgorzata Białek
Composition, Electronics: Phillip Curtis
Sound Technicians: Piotr Żelazko (Warsaw) and Paul Richardson (London)
Costume Assistant: Jill Spector
Videographer: Ollie Hammick
Assistant Video Editor: Sean C. Flaherty
Tessa Pattern Takes a Picture was first presented at the Museum of Modern Art in New York (MoMA) in January 2013. This adaptation is a co-production between the CCA Ujazdowski Castle and the South London Gallery.

Performance Audio

Composition, Electronics: Philip Curtis
Vocalist: Małgorzata Białek
Sound Technicians: Piotr Żelazko (Warsaw) and Paul Richardson (London)

My name is Tessa Pattern. I’m related to Thora Pattern a character from The Edge of the Alphabet. A composition of letters pressed to pages and printed in 1962. I was educated at the technical school for clock making in the Black Forest. The school is connected to a clock museum by an underground tunnel where time is stopped in order to be counted.

The sky over the forest is flat and made of manually stitched together fabric parts designed by my schoolmate Theo Weather. The floor is a series of horizontal stripes to match a horizon line that was never there, a house conceived of endlessness, hallways with wave symbol rugs, an elastic spatial concept, stacked in an arrangement that appeared to move under itself and a series of rolling hills. He would talk softly to me during class and say all ends meet in the endless. I pulled the bottle of chemicals from the shelf to mix with water in the tray and pushed light to melt and then harden into the paper.

Red and white, soft white, off white, pure white, textured snow, black no definition, dark materials, near black, average dark foliage, landscape shadows, the darkest part of the image in which slight detail is recorded, acute side lighting. Faces stretched out over a stiff underlining and held taut between stationary points indicated by wood blocks and typewriter keys with carved numbers that lay atop the surface.

In school we made percussion instruments and learned that the human body is often referred to as an accordion pleat. The evening classes were organized so that lighter dances were framed by darker dances and emphasized the embodiment of qualities and gradient tones rather than adhering to narrative structure.

My sister Tulip made Pattern drawings on the inside walls of the museum with her plaster hands strung on a rope around the neck and passed petals out to the audience to place over I and I. Rays turned inward. Decorative markings stuck to the face. We turned the room to the right to reach the ceiling and she continued drawing.

60, 59, 58, 57, 56, 6 minutes, 55, 54, 53, 52, 51, 12 minutes, 50, 49, 48, 47, 46, 18 minutes, 45, 44, 43, 42, 41, 24 minutes, 40, 39, 38, 37, 36, 30 minutes, 35, 34, 33, 32, 31, 36 minutes, 30, 29, 28, 27, 26, 42 minutes, 48 minutes, 54 minutes, 60 minutes, 25, 24 buttons made of nuts buried by squirrels with the addition of 2 medium grey made of cardboard nearly the scale of glass plates for research quality imaging the sky's tone before a storm, utensils for dodging light, and the other 21 buttons cast of solid gold. Gathering the contents from her cutout and cutoff head he pushed it back into the hole from which it fell. 60, 59, 58, 57, 56, 55, 54, 8 minutes, 53, 52, 51, 50, 49, 48, 47, 16 minutes, 46, 45, 44, 43, 42, 41, 40, 24 minutes, 39, 38, 37, 36, 35, 34, 33, 32 minutes, 32, 31 mountains upside down in the room make the arctic poles water pools, 30, 29, 28, 27, 26, 40 minutes, 25, 24 hours in 60 minutes, 23, 22, 21, 20, 19, 48 minutes, 18, 17, 16, 15, 14, 13, 12, 56 minutes, 11 filters to create an even wash of light over the audience and 4 extra sticks to stir the color temperature.

I keep buttons in my pockets for securing the sky to the edge of the world. We sleep under drum shaped lampshades with seeing glass padding that is programmed by weaving technicians that tie tied the wrap around landscape of fern impressions and plant collections to the forest platform under us.

Panels made of folding time for experiencing dimension. Top and bottom insulated and isolated the environment inside the room from outside elements. Space phrasing diagrams given to the composer to compile the score for the performance. Immersive, alienated, residual, adaptive artworks that hold on to an abandoned technology and the body automatic. I pull out the pin from the ring and begin to wind in a counter clock-wise rotation.

The landscape fanned before me, I stop down and pull out the glass graph bed from the wall, spread the black nylon cloth across my back and load the cartridge into the box. Peripheral movements along the outer limits of the object, equator scale, two bowls empty of contents, the construction methods for building bone scaffolding to hold the body and the buildings upright in space. Pressed and unpressed knives pleated and portable glass walls tinted black.

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