...a supple dancer who can express subtle strangeness and violence...a choreographer with a highly associative mind... -The New Yorker

I am currently engaged in the plasticity of memory, how it forms/reforms in a series of recalled actions. There is a particular restlessness to it. I am using memory recall as a creative practice to discover potential futures,  to excavate the interplay between memory, language, sensation, to see where/what things stick, and acknowledge the space and power of forgetting. Then I make/shape something out of what is unearthed, often times performative and/or linguistic. Memory needs a body, a container. I wonder how it can be harnessed or passed on.   (photo | Marion Borriss) 

I am currently engaged in the plasticity of memory,

how it forms/reforms in a series of recalled actions.

There is a particular restlessness to it.

I am using memory recall as a creative practice to discover potential futures, 

to excavate the interplay between

memory,

language,

sensation,

to see where/what things stick,

and acknowledge the space and power of forgetting.

Then I make/shape something out of what is unearthed,

often times performative and/or linguistic.

Memory needs a body, a container.

I wonder how it can be harnessed or passed on.

 

(photo | Marion Borriss) 

Enrico D. Wey's performative works have been on view since 2006 with humble beginnings at the St. Ann’s Warehouse Puppet Lab in Brooklyn. Future choreographic works took shape at Dance Theater Workshop (Fresh Tracks Artist Residency 2010), Abrons Art Center, Judson Church, Chocolate Factory Theater, the River to River Festival, and three seasons at Danspace Project (2009, 2013, 2016).

He has been a member of Handspring Puppet Company (South Africa) since 2004, puppeteering in Tall Horse, William Kentridge's Il Ritorno d'Ulisse, and as the lead role of "Joey" in Broadway/Lincoln Center’s War Horse, which garnered 5 Tony Awards in 2011.

Claimed by The New Yorker to be "a supple dancer who can express subtle strangeness and violence...a choreographer with a highly associative mind...", Wey has had the pleasure of working with Aitana Cordero, Milka Djordjevich, Trajal Harrell, Yvonne Meier, Big Dance Theater, Jen Rosenblit, Jassem Hindi, Jon Kinzel, and touring internationally with Ishmael Houston-Jones/Dennis Cooper/Chris Cochrane’s Bessie Award-winning reconstruction of THEM.

Other credits include: Resident Puppetry Director for Gefährten, co-curation of the 2012 Movement Research Spring Festival, and roles in the hit webseries The OUTS and Dennis Cooper/Zac Farley’s feature film Like Cattle Towards Glow (2014). His writings have recently been published in Tir JournalInternational Notice, and Performance Research Journal.

He is under commission through Lower Manhattan Cultural Council’s Extended Life Dance Residency developing new work for Summer 2018 and is writing an interactive children’s book with Joby Earle. Enrico is from Taiwan.

 

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