Mercedes Searer is a New York based choreographer and performer. Mercedes makes things; pottery, dances, collages, and quote books. As a maker she is interested in the kinetic energy of the object; its rhythm, its allusion to meaning and the metaphors it presents for life itself. In all of her work, asymmetry, the verge of collapse, humor, irony, and pain show up repeatedly.
Mercedes interrogates assumptions around identity, investing in the notion that bodies are perpetually engaged in processes of biological, social, and cultural performance.
Fueled by the dynamics of the corporeal body and its dramaturgy, her practice recognizes that we are trapped in limited bodies by our habitual movements and stories. She challenges these forms through their donning and un-working, believing that radically inhabiting the body leads to social reform.
Her early work, building off circus, was concerned with different orientations of gravity/scale. More recently it deals with issues of inequality, memory, and (physical & digital) space/time. Her practice underwent a series of formal explorations in composition dynamics and representations of the body and the space surrounding it. Initially using video as a personal documentary practice dealing with memory, she later adopted it as a means to upend traditional concepts of scale/intimacy during performance.
Last year she exhibited as part of PERFORMA19, Selfdom, with sculptor Roland Gebhardt, responding to WhiteBox’s 1903 FireHouse minimal architectural qualities, injecting over it a “touch of Bauhaus” and exhibited in Greece, Private Intimate, with Sonia Soares, exploring the body as a sensory/emotional object in constant transformation and debuted a semi-autobiographical solo Whose Eyes I Am in residency at Brooklyn Studios for Dance in NYC.