Alexandrina Hemsley’s practice is shaped by the morphing disciplines of dance, dance for camera, live art, theatre, mentoring, creative and critical writing.
Driven by an interest in fracturing, connectivity, displacement & emotionality, they hope to find and share ways of expressing felt, lived realities. They work with intricate improvisation scores and vivid performance environments which insist on conjuring embodied enquiries into a multiplicity of voices. This includes work within organisations around diversity, disability and inclusion. It is a life long, nuanced undertaking.
Alexandrina is currently embarking on a slow-burn interdisciplinary solo project Words Collect In my Mouth; All is Fire and Flood which attends to questions of how, one (individual & communities) returns to intimacy – of self, of performing, of expression – within the aftermaths of (continual) violence? The research situates itself across and does not distinguish aesthetic value between dance, writing, film, healthcare and community work.
Alexandrina is Associate Artist at Cambridge Junction and International Associate Artist 2020/21 at Dance Ireland.
Her collaborations include Project O with Jamila Johnson-Small (2010 onwards, Sadlers Wells New Wave Associates) and Seke Chimutengwende (2016 onwards) on Black Holes. She collaborated with Rosie Heafford and Helena Webb on Dad Dancing.
Her work has been commissioned by and presented at Sadler’s Wells, Battersea Arts Centre, Southbank Centre, Cambridge Junction, MDI, South East Dance, Chisenhale Dance Space and The Yard Theatre amongst others. Her critical writing has been published by Sick of The Fringe, an introduction into Selina Thompson’s Salt (Faber & Faber), SPILL Festival and new publication exploring queering the future, Hereafter (Unbound). Other publishing includes The Silver Bandage (Bookworks) and LADA’s Live Art Almanac Vol. 5.