Eloise Fornieles
in art, by Jareh Das, May 27th, 2010Deep in Hackney, Jareh Das discovers Fornieles, a dancing performance artist
the oyster bar
My first experience of performance artist Eloise Fornieles was by chance. I had randomly followed an acquaintance on a fine summer day to Hackney Wick, having been informed a new arts festival was opening (the now established Hackney Wicked Festival.) Having lived in East London for years, I had never explored the deepest darkest parts of Hackney. I was often puzzled on numerous night bus journeys via Hackney Wick why everyone got off at that desolate location. It looked dark and dingy but little did I know there, in the middle of this seemingly ‘in-between’ area of East London (i.e on the boundaries of Hackney proper, Bow and Leyton) all manners of art collectives, squats, galleries and studios called Hackney Wick their home, due to its close proximity to the centre, amazing warehouse spaces, scenic canal routes and skyline views across the city of London. During the inauguration of Hackney Wicked Arts Festival the resident artists were encouraged to open their studios creating a kind of pop-up chain mail gallery effect in every corner. The buzz was electrifying but I was quickly directed to (the now defunct gallery) Wallis Gallery to watch a durational performance by Eloise Fornieles. Wallis Galley existed on the top floor of a 60s style concrete tower block (previously offices judging by its interior features), although the only entrance was through a set of side stairs as other floors seemed inaccessible.
As I approached the smoke-filled white room, there was an eerie atmosphere. There was a girl dancing to music in subtle but captivating movements. The room was dimly lit with a spotlight centred on Eloise Fornieles. She was dancing barefoot, in what looked like a pool of blood (it was fake of course). I stood enchanted wondering how long she had been dancing and how long would she keep dancing? And how had she not slipped as the floor was mega slippery? It turned out Fornieles's ritualistic performance was based on Stravinsky's Le Sacre du Printemps, born of a vision of a pagan ritual in which a girl danced herself to death. Although Fornieles did not dance herself to an early grave but the duration of the exhibition (two consecutive days).
I watched and felt quite moved by this laborious piece and had the intention to return the next day to witness the finale but alas this didn't suffice. I was keen to find out more about the artist and having looked through her website, I noticed all of Fornieles' performances share themes of loss, intimacy and the relationship between beauty and violence. She is an artist who applies a certain romantic tendency to all her works and thus creates timeless, ephemeral pieces that endure in collective memory. I believe she is destined for greatness. Catch her at a gallery near you (or perhaps like me on a fine summer's day in the most unexpected coincidences.)
senescence
from the deep waters of sleep
i love this artist.
Yes, I love her too.