COMBINE  The site and physical situation are the most important conditions from which I construct a work. I have no interest in the history of the building, which is just anecdotal and not relevant, it is the building itself as material that excites me.

Sometimes I name a work in advance, as in this instance to introduce myself to some concerns or issues that I might play with and to set some parameters or givens which allows me the opportunity find a direction and also change my mind about everything.

Combine is constructed in a different way to other performance works I have made, treating it almost like a painting; a detail in one place changes something somewhere else, this is a work developed specifically for V22.

This is the first time I have introduced dance directly into a work. As well as the visual and acoustic properties of V22, I will also borrow ideas from Rauschenberg, Cunningham, Bruce Nauman and Cage as well as the work of Pina Bausch.

Combine was coined by Robert Rauschenberg to describe works, which combined painting with objects to make works that were neither painting nor sculpture. He was also influential in sound and performance, working with the Merce Cunningham Company as a designer and then moving onto making his own theatrical works. 

Combine is made in collaboration with the Italian Choreographer Paola Piccato, who has studied in Turin and at the Laban Centre, London and Fari Bradley who is an Iranian-born journalist and electronic musician now living in London, and an active member of London's acclaimed ResonanceFM experimental radio station. Also I am pleased to announce that includes music by Keegan DeWitt,  an independent songwriter and award -nominated film composer based in Nashville. His acclaimed sound track for the feature film Cold Weather will form part of the music ensemble. Ian Dearden renowned British Composer and sound designer. Linda Hirst vocalist.


Gurpreet Dosanjh

Anne Marie H. Kristensen

Helen Newhouse

Margriet Nguyen

Eri Odoru

Rachele Rapisardi

Tim Rawlins

Johanna Ryynanen

Live vocals

Claire Barton

Sophie Kent

Georgina Mottram

Voices on film

Sara Daintree

Flore Philis

Linda Hirst

Claire Barton

Sophie Kent

Georgina Mottram


















Thanks to Tara Cranswick and David Thorp

Supported by The Performance Studio

Photography Trinity sequence Jonathan Callery

Technical support David Rowett and Lee Jones

to hear the music of Keegan DeWitt

V22 is a new space in South London. About half the size of Tate Modern’s Turbine Hall.

David Thorp suggested to Tara Cranswick to invite me to make a project in the space. I loved it straight away. It was perfect for a new work that would involve dance for the first time. I then began to look for a choreographer. There were many choices I decided on Paola Piccato an Italian dancer and curator. She had a shared interest in Pina Bausch. I felt that we could work together well.

We then set about finding our dancers and through Laban and Place websites we were contacted by eight young and enthusiastic dancers.

Its important to me in all my projects to assemble a team of people who are keen to collaborate and importantly for me people who I can learn from. I think I am a good student.

I was given a new book on Robert Rauschenberg, I poured over this book and carried it back and forth from my studio and home. I knew his work very well and saw a retrospective of his works a few years ago in New York. There were things I knew but also some surprises, I particularly liked his sculptures made of cardboard.

Revisiting an artists works is always rewarding, because sometimes there are things in the work that you dont connect with at first and then later, perhaps years later you get it. I was also planning a new project to be part of the famous Dartington Summer School. I found to my amazement that Rauschenberg along with Merce Cunningham performed in 1964 a piece at Dartington called Story. I tried to find out more about this work and contacted the Merce Cunningham Foundation but there was no images or information about the piece. I decided to call my work after Rauschenberg’s combine works.

The idea for Combine was to make a site specific work that could change and adapt for each location. That it could be something that could change. The title would always be Combine but the include the name of the room or building where it would be performed.

a site-specific work for five video screens, recorded music, live music, dance and audience

A film by Suzie Zabrowska

combine performance composition

Short 7 minute version

Long version