An elegiac meditation on mourning, Maralie's A Natural History of Sense & Spirit is composed from materials gathered during the long illness and death of her/their father. Enfolding us in a material atmospherics, the boundaries and surfaces of bodies in Maralie's piece, are not eradicated or destroyed. Rather, they are transformed, warped and multiplied—they tessellate between themselves an abstract intimacy. And within this graceful geometry of dissolution, we experience the epiphany that a loved one can never truly be lost. Their shadow can be conjured in motion, can manifest itself within the bodies of those they've touched; can be caught gently between spaces, momentarily encapsulated in a beam of light.
A Natural History of Sense & Spirit ultimately explores the question of how we may diffuse the close-heartedness of individual suffering and transform it instead into a universal mode of seeking. Death in this piece is not mired in pain, or suffering. Here death turns generous; it takes shape as something joyfully lawless and diffuse—something beautiful—hurtling in some dimension perpendicular to our own. A color we can only see out of the corner of our vision.
Maralie’s multi-mediated works find heritage in a genealogy of spiritual, sensual, and emotional expression via technology. Their/her goal is to seduce poetics from human-machine interaction and probe the multifaceted interrelationships of gender and spirituality. Maralie often tours in the projects Valise (solo) and Humanbeast (with Eli V Manuscript) while incorporating video, voice, performance, sculpture, sound, and installation art .
As dancer/choreographer her/their works have been performed in Nick Cave’s Kansas City Gala Soundsuit performance, Bonedust’s ‘Fruit of the Ash’, and in Hana van der Kolk’s ‘The Third Thing’. Most recently they/she have taught in RISD’s Experimental and Foundation Studies program and Brown University’s Modern Culture and Media Department.