about Solo Colores

“Solo Colores” is a performance of solo female dancer dancing in front of metallic object in the shape of water plant on white floor. This show showed the brilliant color on monotonous stage by the highly tensed movement of the dancer.

by Takao Norikoshi, Tokyo Shimbun, February 2009, Japan

'Solo Colores' is performed in an art gallery, with only white floor surrounded by audience from all directions. The dancer is possessed with uncontrolled power, she is standing in front of iron object shaped like water plant, she is touching her body obstinately or suddenly start moving. This piece made the eyes of audience glued to the dancer’s powerful presence. there is almost no sound, “it makes us feel rich variety of colors by monochrome ink such as drawing in india ink, with the sense of Japanese Zen (Wabi-Sabi)”

by Takao Norikoshi, DDD Magazine, April 2009, Japan

‘Solo Colores’ was inspired by the sculptures of Isabel Cruellas. This work is performed by dancer/choreographer Iris Erez. Iris has worked and performed with many choreographers including Ysmeen Godder, Inbal Pinto and Ronit Ziv to name just a few and is an established choreographer in her own right.
This work explores the ‘creative process’ full of sweat and difficulties, it is a work that is demanding emotionally for the artist. The solo has three parts that represent the mental stages the artist goes through as he creates a work of art.  He has a very clear movement vocabulary comprising of one main movement motif that ties up the entire work.
The first part of the work represents the search for material, it starts with a ‘block’ that one needs to pass to find a subject matter. The dancer struggles and appears to be asking for redemption from her misery.  In the second part the dancer tries to create her art and to show her inner feelings through her artistic tools. The final stage shows the satisfaction, pleasure and delight on completion of the work. Iris Erez is a believable artist that is honest and real, with a very strong stage presence. There is an authentic quality about her performance.

by Maria Rosenfeld, Dance Life, may 2009, Israel

"Solo Colores" is a minimalist, intimate solo work, which reveals the wondrous abilities of the body.
About a year ago, during a trip to Spain choreographer Arkadi Zaides and dramaturge Itay Weiser came upon an intriguing sight. They saw a person hammering away at hunks of iron with a giant hammer, and only after the protective helmet was removed did they discover that she was a woman. This chance encounter between Weiser, Zaides, and the Spanish sculptor Isabel Cruellas led to the conception of the work "Solo Colores".
Solo Colores combines a variety of art forms. On stage there are two sculptures resembling water plants, created by Cruellas. The sculptures are so delicate and fragile; it is hard to believe they “grew” from hard iron. During the entire work, dancer Iris Erez's feet shake the leaves.
Two additional woman collaborated in this work: the designer Sarah Brown, who created a simple cream-colored costume that underscores Erez's strong presence, and the musician Karni Postel, who wrote the music which is composed of an element that returns and interrupts the silences.  Each of these talented creators contributes her own unique color, creating an amazingly harmonious result.
Erez performs a movement monologue in a white and almost empty space. The music also only begins at a late stage in the work.  This minimalism invites the viewer to observe the details and the different shades of white, from the beginning of the performance. With her movements erez paves a path to softness. Her presence is far beyond that of just a dancer, and without the strained effort that sometimes accompanies actors on the stage. Like a child observing in astonishment the movements of the palms of her hands, Erez reveals her body to the audience from the beginning.
In the search for the connection between the body and the hidden force that moves it, we can witness the body's struggle against the attempt to force form upon it, along with the basic disharmony between body and soul.
Solo Colores is an intimate and virtuosic work, which reveals both the potential within the body and the many possibilities to sculpt it.

by Maayan Bonnie, TimeOut Tel Aviv, May 2009, Israel
translated from hebrew by Amitai Stern

Inspiration for Solo Colores sprang from the metalwork of sculptor Isabel Cruellas, which Zaides and dramaturge Itay Weiser saw during a trip to Spain. The striking sculptures of plants and an encounter with the artist herself reminded Zaides of dancer and choreographer Iris Erez, who had performed alongside him in one of Yasmeen Godder's productions. "Something with the quality of the work and the process of their making, it's really close to Iris," he recounts. "I felt a very strong connection between the two women."
This initial meeting blossomed into an international collaboration. While Cruellas crafted a new sculpture in Spain, Zaides and Erez retreated to the studio in Tel Aviv to explore what Erez described as the "oppositions of hard work and poetry," a characteristic of cruellas's art.
The visually stunning end result is a meeting not only of art forms but of artists and spectators. Both the delicately curved lines of Cruellas's hard metal sculpture and the sinuous movement of Erez's long, lean frame are on display for the audience, which surrounds the performance space.
"There's the idea that people come to see art and suddenly they see a person inside the art space with the sculpture. I think it makes it interesting and special," Erez reflects.

by Deborah Friedes, Jerusalem Post, July 2009, Israel

The viewer experiences closely how the actual piece of art gets created in front of him: by standing, by laying, by falling down, by nervously scratching herself, like being driven.

by Sonja Mersch, Waz Culture In Essen, July 2010, Germany

The sculptures of Isabel Cruellas, - stylistic, waved grasses in a raw, give the space the wideness of a coastal or a deserted landscape. The woman appears like abandoned, not fitting in, making herself small on the floor. Buckling, shrinking, lashing out, touching herself like a foreign person at her head, neck, leg or sliding down on the other arm. Her neck is firm. A leg. A pressure on the breastbone. Or invisible light bulbs screwing into the heaven. She repeats phrases like nightmares. Works through something by creeping, running or on her knees. Inside and outside simultaneously, or actually inseparable, and gets sometimes calm, as would she sink inside herself, as would she be falling invisibly. Strong piece.

by Meanie Suchy, Ballet Intern, July 2010, Germany