Clara Furey began her artistic practice in singing and music composition before entering the world of dance, studying throughout her childhood at the Paris Conservatory and later at l’École de danse contemporaine de Montréal.
Early in her dance career, Clara Furey worked with a number of different choreographers, including George Stamos, Damien Jalet and Benoît Lachambre, who had a significant influence on her artistic vision.
Since 2011, she turns towards choreography and develops work that is centered on a hyper-awareness of sensory perception. She’s interested in the physical and gestural search of an extreme precision, in the micro-details that form ones individuality and in the macro that unites us all. She is interested in the constant transformation of energy and in leaving space for a communicative void and the creative minds of the spectators. She works on bringing choreographic performance to a proximity both sensitive and perceptible.
Many different collaborations brought her to think of an approach that attempts to expand the boundaries of dance; using museum spaces and crossing the disciplines of visual and fine arts and choreography. Clara Furey is interested in the dialogue between the different mediums that make an living art work, inviting them to interact in a horizontal hierarchy.
In 2017 Clara Furey moved toward artistic direction and group choreography with Cosmic Love. In this piece she works with her performers to create intuitive, poetic representations of physical phenomena against a stark stage where all forms of communication are made possible. That same year she was also invited to create a cycle of 90 solo performances for the Musée d’Art Contemporain de Montréal entitled When Even The as part of the exhibit in homage to Leonard Cohen, A Crack in Everything. In this first solo work, Clara Furey engages in an existential reflection on memory, the passage of time and death—all major themes in Cohen’s work. The European premiere took place at the MUMOK as part of the ImPulsTanz festival in Vienna.
Her works toured in numerous festivals including the Biennale of Venise, Les Rencontres Chorégraphiques in Paris, the Festival TransAmériques in Montreal, ImPulsTanz in Vienna, Performance Mix in New-York City and in different countries such as Lithuania, Czech Republic, Slovakia, Spain, The Netherlands, Belgium.
In addition to choreographic and performance work, Clara Furey shares her artistic processes through creative workshops and labs, inviting participants to come together and reflect on the mediums of choreographic and performance art.
Her latest creation, Rather a Ditch, a solo performed by Céline Bonnier, was presented in spring 2019 at Festival TransAmériques.
Clara Furey joined Par B.L.eux as an associate artist.
ARTISTIC STATEMENT :
Initially trained in music, as a child, at the Conservatory of Paris, I began my artistic career through song and composition. After moving to Montréal, studying and completing the program at the École de danse contemporaine de Montréal, I then danced for choreographers such as George Stamos, Damien Jalet and Benoit Lachambre. Having now become a choreographer, starting with collaborations and now signing the pieces on my own, I’m most interesting in exploring the codes that travel in and across various art forms.
I am in a constant dialogue with the other mediums that constitute the work I am making now, and this excites me. This was the case, for example, with my dance When Even The beside one of Marc Quinn’s imposing lead sculptures, the aptly named Coaxial Plank Density where I sought to question the existential void in a ritual dance which examined the porosity between life and death.
My practice in movement gives equal consideration to both space and sound, with the goal of encouraging the awakening of the sensorial perceptions of the audience, giving them emotive immediacy, direct access.
I’m guided by the belief that beauty might appear after a long arduous process. Not beauty that appears out of nowhere, but beauty that is already there, under the layers
I often work in minimalist set-ups that can foster intimate atmospheres and invite us to take a contemplative posture. I want to leave room for the creative mind of the spectator. Sometimes a deep feeling of emptiness arises in my work or rather an investigation around the concept of emptiness and all the links and dynamics that it is filled with. The void becomes a conveyor of possibilities and allows all form of communication to coexist.
Ultimately – in between the lines of space and sound, I create pieces that are at once literal and abstract in which audiences can assemble their own elements, understand what they need to understand as they see fit. It is in abstract dense poetic fragments and their ability to compress story that I often find inspiration to begin a new work. Moving through improvisations and a constant reconsideration of the most basic gestures, my performances often employ duration and repetition of ritualised movements. I take great care not to take this for granted. Because these movements always come loaded with a constantly changing mix of both meaning and non-meaning.
I’m interested in what you could call “existential dance experiments” where I can explore states of being, where we can explore mystical interior landscapes and attempt to locate radiance within the enveloping darkness.
My work is porous now – porous in the choreographic offerings I propose, porous in what the performers exude, a porosity I hope can be seen and felt in the energetic exchange between us all.
©Mathieu Verreault – 2016