In a performance space in the furthest corner of Housatonic Community College, Arien Wilkerson steadily paces towards the middle of a darkened set. Red, white, black, and silver chains hang from beams out of sight. Black and white buckets litter the floor, while above them, two strangely familiar red gas cans seem suspended in mid-air.

Wilkerson lies on his back and tugs at one of the chains, struggling to pull himself up while an ominous symphony of brass and string instruments meld with a cacophony of insect noises, the kind of bugs that chirp and whine during the hottest days of summer. By the end of EQUATORS, Wilkerson has changed outfits five times, rearranged the buckets according to a mysterious map projected above the set, and nearly seduced each audience member with several sexually charged spotlighted dance solos.

Through movement, sound, film, and conversation, Wilkerson and his team want to explore how the most marginalized populations on the planet will experience the adversity associated with climate change. Additionally, they want to lend dignity to the spaces where young black men are murdered by police, the same places rogue politicians characterize as “hell.” “[We are] taking weather and environment and transposing that upon a dark feeling of exhaustion and death,” says Wilkerson, “not just losing people. but the way that environment feels during that loss.”

Despite the artistic examination of the clash of climate, human-made boundaries, police violence, bodies and our environment, EQUATORS is a legitimately entertaining piece. Wilkerson is an expertly expressive dancer. He’s been dancing since age 12 and has been traveling the world, honing his talent, since he was 16. His decade-plus experience studying movement is on full display here, as he steps, pops, and strides through the buckets, chains and hanging gas cans with the purposeful movement of a mountain cat or a busy New York City commuter.

When away from the props on the set, Wilkerson is moving in almost complete darkness, save the special lighting for solos done in key parts of the set, “I can roam in the darkness throughout the entire piece or I can step into the light,” says Wilkerson “We wanted to light the show like a work of art and not a dance piece.”

Though the performance as a whole is a thoroughly collaborative production, (set design by David Borawski and lighting design by Jon-Paul Lorroco), it’s Wilkerson’s queer aesthetic that makes the performance unique. “It’s queer as fuck,” says Wilkerson. “This is the queerest thing I’ve ever done. I wear a lot of dresses, I wear a lot of platform heels, I want to just take it there. I was feelin’ some type of way after Moonlight, and just wanted more of that proper representation of queer people.”

Unorthodox lighting techniques, transgressive gender expression through costuming, and the practiced movement of a queer body stand out in EQUATORS, asking audience members to interrogate their expectations of someone like Wilkerson, a young, black, queer person presenting himself not as a disenfranchised minority identity category but as an individual within a fertile creative climate asserting his expertise and wielding his kinetic power.

Wilkerson plans to expand the performance and stage EQUATORS in different locations throughout Connecticut via an upcoming sponsorship from Real Art Ways.

Arien Wilkerson – dancer, artistic director TNMOT AZTRO
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Top photo Arien Wilkerson performing EQUATORS at Housatonic Community College in Bridgeport, Connecticut | All photos by Brittany Solem

The post Crossing Equators with Arien Wilkerson appeared first on Take Magazine.

Aaron Forrest and Yasmin Vobis met in architecture graduate school at Princeton University and established their love of architecture through informal projects together. After years of moving to various cities and pursuing different projects, Ultramoderne was born.

Ultramoderne is an award-winning architecture and design firm located in Providence, RI, run by Forrest and Vobis. According to their website, “The principals are driven by an experimental approach that leads to conceptually rigorous and well-executed designs. The office has experience working at a wide variety of scales, from single-family residences to urban-scale planning.” What makes Ultramoderne so unique, according to Forrest, is their focus and dedication to public space projects. They’re driven and passionate about figuring out different ways to engage with a broader public.

“Providence has been amazing,” Forrest says. The space they occupy within Rhode Island is certainly significant to them. They lived and worked in New York before moving to Providence, and both experiences were incredibly different. Forrest and Vobis truly seem to love the region in which they work now.

SOUTHLIGHT Performance Pavilion + Public Garden 2016, project in collaboration with RISD students and faculty | Photo by Jo Sittenfeld

“The thing I love about Providence are the many old industrial buildings that exist around the city.” explains Vobis. “Many of these are incredible spaces — large, open spaces with lots of natural light and a clear expression of structure. The challenge we face will be to understand how to reuse many of these buildings in the future — how we breathe new life into them and re-imagine them — instead of tearing them down and replacing them with cheaper, faster and less flexible buildings, which happens all too often.”

But Ultramoderne is just getting started. While they’ve had lots of business thus far, with past clients including the Van Alen Institute, National Parks Service, Chicago Parks District, and the Boston Society of Architects, they are ready for the next challenge. “I would like to see Ultramoderne tackle larger public projects,” explains Vobis. “Our office started with small-scale installations, which were a great opportunity for us to test new ideas and techniques… we relish the idea that architecture can be for everyone, not just those that can afford to have something commissioned.”

Forrest adds, “We’d love to be so lucky to continue what we’re doing and find out how architecture can do more to help the community at large.”

Weir Farm wayfinding project with Jessica Forrest, Noah Klersfeld, Suzanne Mathew, and Dungjai Pungauthaikan 2015

Yasmin Vobis received her Bachelor’s Degree from the University of California, Berkeley and her Master’s Degree from Princeton University, where she was awarded the Butler Traveling Fellowship and the Suzanne Kolarik Underwood Thesis Prize. She has taught at Princeton University and currently teaches at the Rhode Island School of Design.

Aaron Forrest (AIA, NCARB) is a licensed architect who teaches at the Rhode Island School of Design. He received both his Bachelor’s Degree and Masters in Architecture from Princeton University. He has extensive professional experience, having practiced in New York with Bernheimer Architecture and Guy Nordenson and Associates Structural Engineers, and in Madrid with Ábalos & Herreros Arquitectos.

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