Laura Arrington

Summer 2010 Artist in Residence

Laura Arrington’s work has been shown as part of the Women on the Way Festival, The Lab’s 25th Anniversary, The National Queer Arts Festival, as part of Keith Hennessy’s benefit “Sustain” [Read more…]

Performing Thursday-Sunday, August 5-8, 8pm

“Hot Wings“

Laura Arrington’s “Hot Wings” a dance that’s probably feminist, examines artifice and authenticity in representations of sex, gender, and violence. Set in a cardboard castle, the dance theater piece follows a cast of four women as they sing, scream, and dance towards resolution. Inspired by birds, family, and the ballet “Firebird” Hot Wing aims directly at the fabricated in an effort to uncover what actually is “feminine.” Performers include Atosa Babaoff, Rachael Dichter, Liz Tenuto, and Ashley West Roberts.

Laura is performing with Jesse Hewit


Laura's Blogs

Julia Serano & Carol Queen Post-Show Panel
Aug 10th, 2010

100807 Jesse Hewit / Laura Arrington Strong Behavior Post Show Panel from In Studio on Vimeo.


Audience Reacts to Laura Arrington & Jesse hewit/Strong Behavior, Artist in Residence show at CounterPULSE
Aug 6th, 2010


Laura Arrington & Jesse Hewit/ Strong Behavior Post Show Panel
Aug 6th, 2010

100805 Jesse Hewit / Laura Arrington Strong Behavior Post Show Panel from In Studio on Vimeo.


New video flyer for Artists in Residence
Jul 15th, 2010

Watch Jesse and Laura engage with their new works.

Get a peek at the new dance theater pieces to debut in August at CounterPULSE!

Meet Jesse
Meet Laura
Buy tickets

Learn more about the Artist Residence Commissioning program


Sketch of a new work
Jun 10th, 2010

Two weeks ago myself and a gaggle of my tremendously talented artist friends put on a show at my house.

I showed a very rough sketch of some of the ideas we are working on for Hot Wings, and the always generous and lovely Mark Mc Beth filmed it.

so here’s a peek at some of what we are working on…

100529 Laura Arrington Fox Den: Laura Arrington from In Studio on Vimeo.

also check out some of the other videos from the show. It was quite a night!


100529 Laura Arrington Fox Den: Charles Slender from In Studio on Vimeo.

Liz Tenuto

100529 Laura Arrington Fox Den: Liz Tenuto from In Studio on Vimeo.

Kat Galasso

100529 Laura Arrington Fox Den: Kat Gallasso from In Studio on Vimeo.

Jorge De Hoyos and Macklin Kowal

100529 Laura Arrington Fox Den: Jorge De Hoyos & Macklin Kowel from In Studio on Vimeo.

Minna Harri

100529 Laura Arrington Fox Den: Minna Harri from In Studio on Vimeo.

Philip Huang

100529 Laura Arrington Fox Den: Philip Huang from In Studio on Vimeo.


Maryam Rostami/Mona G. Hawd

100529 Laura Arrington Fox Den: Maryam Rostami/Mona G. Hawd from In Studio on Vimeo.


May 31st, 2010

When I was an undergraduate in North Carolina, I would often decide to drive home to Louisiana late at night. Around ten or  eleven pm I’d decide that now was as good a time as any to make the 12 hour southbound drive .  My car only had a radio, and the late night interstate travel radio station options in South Carolina, Georgia, Alabama, and Louisiana were quite limited.  A solution I came up with to combat boredom/fatigue was to drink as many redbulls as my heart could handle, pretend I was Terry Gross, and interview myself–an activity I recommend to anyone who finds themselves as self-involved as me.  So, when the lovely Ryan Crowder (go to Marketing Man of counterPULSE) asked to schedule a video interview with me I thought, shit…might as well do it myself for practice.  Without further ado, here’s the interview I did with myself the night before my counterpulse interview:

So hotwings, the piece i’m working on for counterpulse’s arc program, is an openly feminist piece.

it imagines these four different queens as played by liz tenuto, rachael dichter, atosa babaoff, and ashley west-roberts in this kind of borderland, wasteland kingdom..

it is the second piece of what will be a triptych of work.

i made the first work, fingerbird, last year.  There was this kind of burgeoning power that was underneath it.  It seemed almost empowering. the women started very small, very simple… the work even kind of started very stupid and everythng shifts in the course of the work. The women somehow become powerful, the frame shifts how everything is seen, it seems to end in very open way. perhaps even hopeful…

and i imagine hot wings as totally on the otherside of that. i think of Hot Wings as these fingerbird women years down the line, or even in another lifetime, i imagine them queens who are inflated with a sense of potential or power. Like Parade balloons or something they are so full but because the container is so rigid they are totally powerless. they seem very very stuck.

it plays a bit with felt boundaries, frustration with being stuck, these polarities that get set up. and quite obviously we are using gender as the main binary. it’s all framed in what seems to be very polarized space. things are either very real or very artificial etc. even in the visual design the set/costumes etc. will mostly be black and white. we’re using very natural things like dirt/fur and very plastic things.

i listen to this podcast radiolab a lot, and there was a great episode about anger and feeling and it explained how when you are in a state of anger or rage, you meet a moment where your mind comprehends that you are no longer angry but because the body hasn’t gotten the clue and all the feelings of anger are still there, tension, increased heart rate etc your mind is essentially over powered.

so that place is interesting to me

how profound feeling is

especially as it relates to femininity… i think in art in general there’s quite a high premium placed on being clever and cerebral, and though i love clever and cerebral i personally also really love feeling, image, intuition, sentiment etc.

feeling is a huge part of my process.

trust is crucial.

i often don’t understand what i’m making in a way that’s like “this means this.” and “this dance is about this”

but i feel what the images/ideas make me feel and go from there.

the dancers also are amazing.this particular cast is remarkable. i feel very fortunate.  i can just sort of throw things at them. they are quite open, so there’s an ease to the whole process. They don’t need to understand where i’m going or what it means. that’s such a luxury.

Here are a few images that provoke a lot and relate to some of what i’m talking about

one is an image from the film AntiChrist

one is from a Tori Amos album

and a scene from the bitter tears of Petra Von Kant

bitter tears


of a faun…. the beginning inspiration for the visual design of “Hot Wings”
Apr 13th, 2010

the beginning… my favorite part

everything seems possible and the threads of connection are just barely starting to show themselves.

At the beginning, I spend a lot of time drawing, painting, imagining, and (i wish less often) buying/collecting objects. the visual component of the work is hugely crucial for me.
here are some preliminary paintings i’ve done for the set inspiration for Hot Wings
and some amazing finds from Scrap (a decoy deer and waves of tiny birds)
how will these all be put together??? we shall see…
please don’t be jealous of my deer, she loves you.


omfg and other hysterical things
Apr 6th, 2010

Before getting into much let me say I am beyond humbled and thrilled and terrified and ecstatic about this residency.
First, the staff at Counterpulse are amazing. This feeling of being supported is both delightful and totally foreign, but it’s a feeling i could get used to. so first, and for real THANK YOU to all the CP folks. Second, I can’t believe Joe Goode will be mentoring this project. I dont even have words for this… more on that later.
i feel like one lucky fucking duck.

I’ll be making a new work, that follows threads from my last work Fingerbird

Laura Arrington “Fingerbird” excerpt 2 from hilary Jacobs on Vimeo.

I’m joined in the process by performers Atosa Babaoff, Rachael Dichter, Liz Tenuto, and Ashley West Roberts.
with this blog, i will try and be as real and accessible as possible. Jessica Robinson Love said something along the lines of “we believe the more access the audience has into the process etc. the more invested they’ll be, and if you don’t agree I’ll ask that you try it out.” (I’m grossly misquoting, sorry Jessica… but i love that she said this and i’m on board)

For me, the naming of a work is often the major doorway into in it. trust is a major part of my rehearsal process… and the naming gives the trust a life. I have something to trust, beyond my own ideas. I trust the work, not just myself…. i pick titles because i like them… i pick titles that i like to say, and that like ripe peaches, make me blush.
i picked the title last night… it’s
“Hot Wing” …….. or perhaps “Hot Wang”
the wang being wing as translated to southern twang.
waaangs… more arkansas(where a lot of my family are) than louisiana.
Most work i do, has greasy southern fingerprints all over it.
here’s an example

Hot Wang, is probably a feminist work. We are looking at authenticity and artifice in representations of gender, sex, and violence.
In Fingerbird, I looked a little more at violence directed against women, sexualizing the submissive…but in this work I’m looking more at aggression in woman, especially the sexualizing of violence.
I’m also interested in how the emoting woman has become a charicature. the hysterical woman has become an archetype.
if you’d like to try a simplified exercise from rehearsal last week
hit play on

then scream for the duration, or if you prefer become a rabid dog to the song.
until later

here’s the very first marker sketch of the set idea. it’ll be mostly huge black and white cardboard piece. kind of an enormous mobile, that gets colored by the performers during the show. like a coloring book installation… (assuming i can get this image to upload)