The past few months have been filled with much reflection and I have been struck by the memories of the work I have done and the collaborations that have most affected me. Schopenhauer’s theory of art states that “great art transcends” and I have had the great good fortune to work and study with artists that I feel create work that transcends, most notably: Meredith Monk, William Forsythe, and Peter Sellars.

What I am remembering most about my work with these artists is that they all greatly affirmed the imagination, encouraged taking risks and invited, if not outright instigated, the uncovering of archetypes.

I have always favored an interdisciplinary approach when it comes to making art and find myself most inspired when involved in some form of collaboration. Los Angeles based composer Charles Gran and I began a collaborative relationship in 2001 at UCLA and continue to work together long distance. We have created a total of 4 pieces together and are commencing work on a new piece to be premiered in Maine, 2008.

Our collaborative work consists of:

untitled, 2008
Nietzsche’s Circus, 2006
genesis, 2005
Echoes of Rom, 2003
Words and Deeds, (solo version 2002), revised trio, 2003

Visit www.campdeadly.com for more information on Charles’ work. The direct link to our collaborative work is: www.campdeadly.com/vg.html.

Some of my other collaborations have included:

Kim, Jim, et trois Gymnopedies, 2005, with pianist Jim Greenwood music by Erik Satie.

Echoes of Rom, 2003, in addition to Charles Gran’s score, this piece involved members of the UCLA Bulgarian Women’s Choir.

Words and Deeds, Charles Gran wrote live cello into this score and it was played beautifully by Rebecca Rosen in 2002 and Elizabeth Wright (who is pictured above with me) in 2003.

A Work in Progress Not Perfection,1994, with composer and trumpet player Jeff Jacobs.

Photo by Carol Petersen