Paraphrased Reconstruction of What I Said While Proposing Bradlee’s Work:?

I got very excited when I got the email about this project and knew within a few seconds who I wanted to present because it seemed like perfect timing. So there’s this guy, he’s currently in grad school for sculpture at Yale, and he works very intuitively so there is a real flow throughout his body of work. Bradlee’s collaborated with two different guys, Will and Aaron, for probably about six years. So he invents what I think of as really imaginative realities that are genuinely "other" that what we usually have in front of us. They take on lives of their own, follow their own logics, and open up space—both by making new visual realities for your eyes to see and by making new sequences of events for your mind to process. The work that gets made has evolved into this kind of collage of narrative video art and sculpturally costumed beings. Most of the ones I’ve seen are these creatures, he calls them carebears; they’re abstract, furry creatures. So he makes these normal, often day-to-day narratives that have these absurdities and unrealities inserted into the stream of the normal elements, the carebears being an example of that. He makes a complete environment and his audience is inside it for however long it is and soaks up the environment and what happens inside of it through these narratives he creates.
Questions I Answered:
Someone: If he does installation-based work, how will he handle duration?
Me: He has things that are shorter, he has things that are longer, I’m sure he and Aaron have a lot of things in their heads that he might try to construct just for this. I think he would look at the parameters that we give him and choose what will work best given the constraints. But I can’t really guess how he will handle duration. He may choose to do a performance-based work instead.
Chase: You mentioned something about timing and this being a perfect moment or something…what were you skipping over?
Me: That’s my own thoughts, should I go into that now?
Chase: I’d be interested.
Me: Okay—this is just me, what I’m thinking about. I can’t articulate all this succinctly, but I see a lack in our societal structure that the field of dance/movement has the ability to fill in and balance. There’s a real division occurring within the human consciousness regarding what it means to be human nowadays. On one side, we’re animals, which means that we have to figure out how to survive within the environment that contains us. Dance performance can be an isolation of that aspect of life because that’s what we do up on the stage: We do what we need to do to carry out the dance in the environment that we are in, and that reality is what facilitates the audience’s ability to respond. And our society has advanced enough technologically that we are now living within a certain environment that is partly of our own construct, partly not. As far as day-to-day reality goes, we are living very much within an environment that is of our own construct. And so, as a society, the balance between animal and other inside of humanity is in flux. There’s this intersection of technology and animal reality that is in crisis to a certain extent. Now, that’s my own thing, my own belief. But it makes me very interested in looking at Bradlee’s work, because what I see in his work is that intersection of technology and animal reality, and an embodiment of the crisis in flux. I see it in the way he juxtaposes day-to-day normality and complete absurdity, in how he merges other realities that are of his own making with the reality we all accept as the world we live in. So. That’s what I meant by perfect timing.