Concrete Illusion (2013)
A dance film which may be presented as a live work as well created from concept to final product in seven days, premiering in 2014 as part of Sally Taylor’s multidisciplinary, multi-sensory global arts initiative, ConSenses.
Reflexive (2012-13)
Reflexive delves into a sensory experience in a world we perceive to be beyond ordinary. Existence in the somehow familiar, yet unknown space, exemplifies how humans and neuroplasticity act as a vehicle for thought, reflection, action, and transformation. The nuanced execution of this emotionally driven work nestles its way into the heart with a universality felt across the spectrum of beings.
Et Tu (2008)
Give an inch, but take a mile. Why do we go too far and cross the line? Why are we often so cruel to the people to whom we are closest? Sexy and athletic, this duet explores the dynamic between two people as they experience occurrences of comedy, melancholy, fun, betrayal, and the tragedy of it all. (This piece was created in honor of Nick Simons).
Sequitur or Non (2010)
Sequitur or Non explores parallels between linguistics and movement/non-verbals as modes of communication and internal dialogue. This evolving work draws the mind and body into a world of surfaces and folds, revolving joints, and a place where the need to make sense of all things may or may not apply.
Resonant Imaging (2009)
Resonant Imaging is derived from multiple MRI inspired thoughts. Resonant Imaging is a journey through the surrealistic experience of the mind. It is an interactive, multi-media, structured dance improvisation based on the environment created by the film being projected onto, behind, and what seems like around the dancer. The “stream of consciousness” and free association of images in the film provide a palette for the performer to play, react, and spontaneously re-create scenarios in as literal or abstract a form as the moment elicits. “’Resonant Imaging,’ performed by Kyla Barkin, addressed issues concerning technological innovation, liveness, and dimensionality… This highly entertaining piece ultimately read as a graceful comment on the ever-increasing role of technology in dance performance.” (Dance Enthusiast)