Born in Stockholm in 1986. In 1996 Anna-Mi started her professional dance training with the Royal Swedish Ballet School. Between 2006-2009 Anna-Mi performed with English National Ballet in the largest ballet creations, touring stages in the UK and world wide, including Hong Kong Grand Theatre, Parma Teatro Regio, China Century Theatre, Chateau de Versailles and Teatro Real Madrid.
In January 2009 Anna-Mi created her first freelance event. The social network of MindEvents is a collection of talent in London's fine and modern performance art. The purpose is to create collaborations for dance to integrate with modern media, such as visual art and fashion. http://www.mindevents.co.uk
LUXOR was first presented in a creatively experimental live performance at Shunt, 30.10.2009.
Free flowing paint, a canvas to be danced across, and hypnotic rhythms are the elements of the creative union of artists that form "Luxor". Luxor came into being when classically trained ballerina Anna Mi-Fredriksson, visual artist Pauline Amos and composer/performer William Orbit collaborated to presented a performance - not just any performance but a highly unique moment in time...
The audience witness an artform evolving before them, as a 'dance in paint' unfolds performed to specially composed live music. A large canvas hangs to function as a record of this inspired activity. The results are visually captivating and intriguing. Luxor is entirely unique. Although dance, music and paint are commonly fused together, they have never before been combined in this particular manner.
Anna-Mi creates movement patterns out of Pauline Amos's art, to become sequences of dance captured instantly only; with a physical quality she reflects the art and the sound surrounding her.
As a central figure in such a performance, Anna-Mi's delicate prettiness and exquisite grace contrast with the severity of stark or densely blended paint tones, and the bold, sometimes aggressive, statements that appear on the canvas.
On discovering the depths of Anna-Mi's passion and sincerity in the following interview, one can believe that such innovation in modern artistic expression, encapsulated by Luxor, is merely the beginning of an incredible journey the artists are making into a very exciting future...
Coming from a classical ballet background, what inspired you to explore the interactive modern art/music/dance form of the 'Luxor' exhibition?
I think it is very important to follow ones creative energy. Sometimes we can't entirely understand our own work, until seen objectively, from a distance or reflected back to us in reactions. As was the process of 'Luxor'.
Throughout my dance career and training, I found a way to absorb impressions in my surroundings, to create a constant physical energy. External influence, in psychological process, becomes emotion into adrenaline, that allows our physical performance, to become more powerful. This consciousness, became the urge to experiment further, in my artistic development, and into the art and science of psychophysiology.
As of leaving the ballet company, I collaborated with various young artists and creatives, wanting to understand their view on dance. Influenced from new directions, I discovered strengths in my creative thinking, as I find, sharing ideas between different types of artists, has the most inspiring value.
I love to de-construct a situation, to break it down into small segments, and re-construct it in a more interesting way. Career wise, my profession had become an identity, and by de-constructing the art form I could re-build myself as a creative artist, that in return became the result of the new work I produced.
The idea behind 'Luxor' was to demolish clichés and attitude, towards ourselves and each others' stereotype, in image and industry. I find separations in the creative field very intimidating, especially regarding art and commercial. Unlikely contrasting combinations was a way to create necessary freedom, as we wanted to perform a piece that didn't exclude one or the other. That is why William Orbit's part in 'Luxor' as the 3rd element, sound, is incredibly valuable for the exhibition, to reach a different type of audience.
What is the most memorable part of the performance experience?
There are many strong moments in the development of 'Luxor'. The first time I physically interfered with Amos' work, as in letting my movement distort the painting, it was a provocation to create an authentic reaction. The energy changed from that moment, as we began a new, artistic communication process.
I do remember one moment of the premiere gig when I had no control over my own movement pattern, my mind was totally replaced by external influence, colours and rhythm. That is the psychological zone we are trying to enter, to create subconsciously and explore.
What other visual artists and musicians, if any, would you like to work with?
I am very interested in different sounds, and keen to bring in more of a scientific view on the project. For example the use of neurology and newly developed sound therapy, as theoretically structured to affect us in certain ways.
Also interesting is what effect different colour has on our brain functions, as research show difference between, for example, red and blue in creative thinking. This is something I am, literally, right in the middle of in this project, I find colour has a very strong effect on my awareness and presence, as well as innovative moments and pattern of emotion.
This would give a new angle to the experiment, and be an interesting challenge to incorporate in our creative process. I like the thought of combining performance art and science for more depth in relation to entertainment.
 What do you know of similar 'live' exhibitions fusing dance/paint/music, if any?
Many who hear about the exhibition compare us to Yves Klein, and we are constantly questioned as to where the inspiration has come from. Although Klein had similar material elements, the contemporary and experimental way of our work, has to be perceived as an ongoing invention. The improvised concept and the three strong, creative, provocative energies, suggest neither art, music nor dance has been constructed in this way before, which is really exciting.
What would you consider is your signature element or contribution to the exhibition that makes your performance in Luxor, a unique experience for the audience?
Fearlessness, no matter what happens in 'Luxor' nothing is failure, because it is an experiment, not a performance in that sense. There is no pretenciousness, no staging, but I am still performing for an audience.
Since this is my first experimental collaboration, I think exploration is my signature element, what is generated in this collision of minds, and from the following reactions, in creators and audience.
How are the performances rehearsed? Or what preparations are required before the exhibition?
A lot of time is spent analysing the process, what is being produced, as aspiring authentic work we want to exclude individual fear or doubt. The layout is prepared, using the strongest angles of work space dimension, with practicalities and starting point.
We spend time building up towards the performances individually, but never share ideas until the very moment of showcase. This empowers the focus, and attention to each other, as emphasising the point of surprise.
To what degree are your movements choreographed and improvised in the performance?
I try not to let myself think in dance vocabulary at all, which was very difficult at first. I wanted to find my authentic movement pattern and still use the technique and strength from my ballet training. It seems that the intense external influence, manipulated my senses, and became a distraction towards a subconsciously created physical expression. After performance I always analyse the footage to find the most interesting movements, and it will eventually become a new dance performance piece.
What previous experience do you have with painting?
Not much at all, and I think that was for the best, the paint simply became material that to me, didn't contain personal associations or preconceptions. As we started experimenting, I found, paint had a very hypnotic effect on my mind, especially watching someone painting.
We hit points during the process when we all struggled to pass beyond the cliché and the stereotypical image of each other as artists. I had to spend time experimenting, with the canvas, paint and paper, to get to know the material, and feel the work in that sense. It was a very important part of the process, for me, in developing the piece.
A physical interference, seems to have a much stronger impact on us, as collaborating creative artists, than the psychological aspect alone.
How do you see this genre evolving and developing as an art form?
I am hoping that we can continue to develop the concept, to become a base for experimental collaborations. In times where everyone is looking for something new, why not find it in each other? We are all different and can all learn from one another, and I think that is very important to remember. Competition, I learnt early in my dance training, but always preferred to collaborate, since I find all parts will go further together.
Do you have plans to travel with the exhibition? Would you come to Australia?
It will be interesting to see this piece performed in various locations. Right now we are looking especially at Berlin, as a centre for contemporary art, it is very attractive as a starting point. Also we are looking to inspire and encounter artists who are creating similar work, since the London performance art scene, I find, may be less exploratory.
Outside of the dancing art genre, what are your other passions?
I have a passion for nature, which I miss incredibly, living in London. Influence from the Scandinavian landscape, will always be a source for my inspiration, and when revisited, generates perspective on my current reality. There is nothing that puts you more down to earth, than surrounded by ancient forest, or fossils, engraved in rocks by the shore.
'Luxor'
Anna-Mi Fredriksson
www.annamifredriksson.com
For latest works check out:
Phil Tidy production
http://vimeo.com/channels/philtidyproducer
Associated Links:
William Orbit http://www.williamorbit.com
Pauline Amos http://www.pamos.co.uk
Shunt http://www.shunt.co.uk
Photo credits
Rowan Hand and Ben Hopper
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