RECENT WORKS
(with links to videos and scores)
CLIP
2025
BASED ON MOVING BODIES FROM HISTORICAL AND CONTEMPORARY WORKS OF DIGITAL AND ANALOG ANIMATION
FULL FILM
VIDEO SCORE
CLIP is a full-length dance work created in collaboration with dancers Danielle Baskerville and Johanna Bergfelt, media artist Hannah Schallert, composer Benjamin Boles, textile artist Alicia Zwicewicz, and rehearsal director Rosemary James. The choreography is based on 250 8-second movement excerpts from the history of world animation. Drawing on methods of close embodied study and extensive score-making, the work presents a sustained engagement with hundreds of different animated bodies in film, television, and games from commercial and independent traditions in 39 countries over the past 100+ years. CLIP was supported by the Canada Council for the Arts and the Toronto Arts Council.
100 YEARS OF CINEMATIC SOLITUDE IN 300 MOVING PIECES
2022
BASED ON THE MOVEMENT OF WOMEN ACTORS IN GLOBAL CINEMA
FULL FILM
SCORE
VIDEO SCORE
100 Years of Cinematic Solitude in 300 Moving Pieces is a 40-minute solo created in collaboration with interpreter Danielle Baskerville, media artist Hannah Schallert, sound artist Benjamin Boles and textile artist Alicia Zwicewicz composed of chronologically organized excerpts of movement sourced from the performances of 300 different female "icons" from global cinema. 100 Years of Cinematic Solitude was supported by the Toronto Arts Council and the Canada Council for the Arts.
XENOMORPHIA
FORTHCOMING
BASED ON DESCRIPTIONS OF ALIEN BODIES IN SPECULATIVE FICTION
SCORE WITH ASSOCIATED DANCE PHRASES
XENOMORPHIA is a Toronto Arts Council supported work-in-progress based on descriptions of the bodies of monsters and aliens in Canadian and international science fiction and fantasy literature archived in Toronto's Merril Collection of Science Fiction, Speculation and Fantasy. The work is a collaboration with dance artist David Norsworthy and is an imaginative study of the "physiology" and kinetics of over 200 "xenos" bodies.
GREEN WORLD
2020
BASED ON THE BERLIN PARK SYSTEM
GREEN WORLD is an unfinished work (postponed indefinately by Covid-19) based on looking at the urban topography and human and animal interactions (nature-cultures) within and across Berlin's "green network" of historical and contemporary parks. GREEN WORLD was funded by the DAAD (German Academic Exchange Service) and supported by HZT Berlin.
FOSSIL
2019
BASED ON ANIMAL REMAINS AND MUSEUM TOPOGRAPHY AT THE BERLIN NATURAL HISTORY MUSEUM
VIDEO OF FULL WORK
FOSSIL is based on the fossilized and preserved animal remains staged within Berlin's Natural History Museum. Created in collaboration with Venezuelan dancer Orlando Rodriguez, FOSSIL is predicated on using museum topography and the forms of extinct and contemporaneous lifeforms to create detailed choreography with affective and kinetic resonances. FOSSIL was supported by the Canada Council for the Arts, Radialsystem V, and the Sasha Waltz & Guests company.
GARDEN
2018
BASED ON PLANT BODIES AND TOPOGRAPHY OF THE EDWARDIAN GARDEN AT THE TORONTO SPADINA MUSEUM
VIDEO OF ENTIRE WORK
GARDEN is based on the topography and species distribution of the formal garden located behind the Manor at the Spadina Museum. Working with Wendy Woodworth, head gardener at the Museum, Immer participated in the labour of maintaining the garden while familiarizing ourselves with its layout and biological composition -absorbing information about the history and design from Wendy, and
kinaesthetic, visual, auditory and tactile sensations from our experience with the garden itself. GARDEN was supported by the Toronto Arts Council.
ARCHE
2018
BASED ON THE ANIMAL BODIES AND TOPOGRAPHY OF THE BERLIN ZOO
VIDEO OF ENTIRE WORK
SCORE (APPENDIX B)
AND
ARK
2016
BASED ON THE ANIMAL BODIES AND TOPOGRAPHY OF THE TORONTO ZOO
VIDEO OF ENTIRE WORK
SCORE APPENDIX A
ARK and ARCHE are poetic chronological condensations of somatic “journeys” through zoological gardens organized around the diverse bodies and movements of foreign and familiar invertebrates, fish, lizards, reptiles, birds and mammals. The preliminary structures for the works were determined by the actual “human” numerous trails, exhibits and buildings at the zoo and choreographic gestures and movements were determined by the dancer’s sensorial impressions of the over 800 species housed at both institutions. The pieces unfold in chronological order, with entrances and exits from the zoo being the beginnings and ends of both of the pieces; the content of the works is determined primarily by the space and beings encountered in the real world and the dances materialize as continual shiftings between contrasting bodily states varying in scale, power, speed, dimension and direction. ARK and ARCHE were supported by the Toronto and Ontario Arts Councils.