Analogy for Solid Bones / 2009
set design and construction for Lisa Phinney
gold painted tree branches and stained pine deck
lighting design: Leigh Ann Vardy
photo credit: Scott Munn
Analogy for Solid Bones / 2009
set design and construction for Lisa Phinney
gold painted tree branches and stained pine deck
dancers: (Halifax) Jacinte Armstrong, Susanne Chui, Alicia Orr Mac Donald, Sarah Rozee and Elise Vanderborght
(Montreal) Peter Trosztmer and Andrew Turner
lighting design: Leigh Ann Vardy
photo credit: Scott Munn
Analogy for Solid Bones / 2009
set design and construction for Lisa Phinney
gold painted tree branches and stained pine deck
dancers: (Halifax) Jacinte Armstrong, Susanne Chui, Alicia Orr Mac Donald, Sarah Rozee and Elise Vanderborght
(Montreal) Peter Trosztmer and Andrew Turner
lighting design: Leigh Ann Vardy
photo credit: Scott Munn
Analogy for Solid Bones / 2009
set design and construction for Lisa Phinney
gold painted tree branches and stained pine deck
dancers: (Halifax) Jacinte Armstrong, Susanne Chui, Alicia Orr Mac Donald, Sarah Rozee and Elise Vanderborght
(Montreal) Peter Trosztmer and Andrew Turner
lighting design: Leigh Ann Vardy
photo credit: Scott Munn
Analogy for Solid Bones / 2009
set design and construction for Lisa Phinney
gold painted tree branches and stained pine deck
dancers: (Halifax) Jacinte Armstrong, Susanne Chui, Alicia Orr Mac Donald, Sarah Rozee and Elise Vanderborght
(Montreal) Peter Trosztmer and Andrew Turner
lighting design: Leigh Ann Vardy
photo credit: Scott Munn
Analogy for Solid Bones (2009) is the second set design produced in collaboration with dancer/choreographer Lisa Phinney. Inspired by a conversation between Phinney — a founding member of Mocean Dance and an atmospheric scientist — and her dad about the beauty of loon calls, the piece investigates the behaviour and mating rituals of birds that bear remarkable similarity to those of humans.