Floyd on the Floor is a performance-based project that investigates how time-based practices—movement, notation, counting,
and repetition produce form.
The work explores translation and measurement across choreography, mechanics, and weather systems.
“Floyd” is both a proper name and the name of a hurricane.
The project imagines Floyd flattened to the floor, with sky and ground collapsing into the same single field.
Bodies and environment move together in a clockwise rotation, exploring weather as a spatial and temporal structure
rather than metaphor.
The performance was presented on the basketball court at Judson Memorial Church.
A white Marley floor overlaid with black vinyl notation diagrams functioned as both score and compass.
The choreography draws on children’s learning exercises with parachutes that emphasize coordination, team work, and timing.
These exercises generated temporary architectures and changing volumes.
The score for Floyd on the Floor is organized into six sections:
Polar Bears, Stopped Shapes, Shifting Shapes, Clouds, and Clocks.
The work unfolds through sequences, counted intervals, and rotational patterns while rhythmic movement shapes space.
Critics noted the work’s synthesis of notation and embodiment, describing it as a convergence of symbols, numbers, voice, and motion that situates
performance within a broader field of visual and conceptual art.
