Dancing with Diversity and Surreal Sculptures
From 2016 to 2019, Alexandra Holownia’s career flourished with a string of performances at prestigious festivals across Europe and the United States. Her participation in events in Italy, the Netherlands, Poland, the Czech Republic, Belgium, Miami, and Cyprus was marked by her unique piece, “Alexandra Fly Dance.” This performance invited audience members to interact with her sculptures and costumes, immersing themselves in a direct, participatory experience. Through this piece, Holownia aimed to promote tolerance for diversity and break down taboos surrounding the human body. Reflecting on her travels, she remarked on the openness of audiences in places like Miami, the Netherlands, and Cyprus, where viewers enthusiastically engaged with her costumes, transforming the performance into a collaborative experience.
English audiences also captured Holownia’s admiration, particularly for their wit and readiness to embrace art that pushes boundaries. The interactive costumes used in Alexandra Fly Dance originated from her early work on Ulysses and were designed not only for visual impact but also for direct audience engagement. This idea of incorporating costumes as sculptures was revolutionary at the time, as she invited the public to wear and interact with her creations. By merging art and audience, Holownia transcended traditional boundaries, fostering an environment where participants were not just observers but contributors to the performance’s fluid, evolving narrative.
Her departure from traditional sculptural materials such as stone and metal into softer, more flexible fabrics was a defining feature of her work. These lightweight, touchable materials could be shaped, worn, and manipulated, allowing for the creation of surreal characters that challenged perceptions of identity and form. The music in Alexandra Fly Dance added another layer of complexity; initially, Holownia collaborated with Polish composer Bogdan Mizerski, whose Dadaist compositions mirrored the abstract nature of her performance. In 2019, she partnered with French composer Anne Germanique, whose experimental sound art seamlessly complements the avant-garde energy of Holownia’s pieces. Occasionally, German guitarist Ernst Joachim Cziesla also joined her, adding a dynamic musical element to her performances.
Costume design remains central to Holownia’s work, as she meticulously crafts each piece to align with her artistic vision. Her costumes and props are integral to the narratives she presents, with every stitch and fabric choice contributing to the depth and meaning of her performances. Holownia’s creations are more than just visual spectacles—they serve as vessels for her themes, reinforcing the provocative and thought-provoking nature of her art. By controlling every aspect of the visual and performative experience, she ensures that her work is a holistic reflection of her bold, unflinching artistic statements.
