Statement of Influence

Carrel’s choreographic and scholarly work is situated within a wide body of work formed by collaborative artists. His inclination towards postmodern, abstracted, and absurdist movement as well as archival research creates a conceptual and methodological relationship to the likes of Trisha Brown, Lucinda Childs, and Ann Hutchinson Guest. 

With groups in the studio, Carrel explores the anatomical capabilities of the body as it moves in relationship to space and other bodies. Often, his work includes intricate shapes and physically demanding phrase material. This complex spatial approach formally reflects Brown’s own investigations of the “Unstable Molecular” and “Valiant” structures and seeks to build upon these queries with his own incorporated conceptual performance elements. As a soloist, Carrel’s work navigates an increasingly theoretical, vague, and often humorous choreographic process. Visually harking back to early solo work of Childs, Carrel uses props, costumes, and music violently taken out of their original contexts to elaborate on issues important to him as a creator. 

Archival research and writing, which for Carrel centers around movement notation systems and various topics in dance history, informs and is incorporated into his movement research. Reflecting the methodological perspectives of Guest, her work with notation, and education, Carrel continues to search for ways in which notation and dance history can be approached and shared creatively. 

As Carrel continues to develop his choreographic and scholarly identity, he will also strive to acknowledge and honor those that inspire and influence his art. Nothing creative is the product of a sole genius and for Carrel, recognizing these interlocutors is an important aspect of his work.