Impossible Maps
Donate to Impossible Maps
Impossible Maps emerged in my mind with vibrant clarity in late 2023 after a wave of personal losses. I found myself in that mysterious and liminal space of difficult transformation, and for the next year I worked with more than a dozen dancers who helped me shape this vision into being, giving physicality to something that can no longer be touched.
Taking on such a large-scale production was daunting, however. At the end of the year I paused, reflecting on whether making this piece mattered, and what I wanted to offer dancers and those who might witness it. What has surfaced is that I wish to extend this work as a gesture of remembrance, shared through movement, community, and care.
Your support will help bring it fully into the world.
Make a Cash Donation
$8000 Goal
Asking for monetary support is difficult, but I’m unable to do this all by myself! I hope to raise enough to 1) cover rental costs of rehearsal studio and theater space, 2) compensate 9 dancers for performances, 3) pay a set designer and a lighting designer, 4) buy materials for costumes and set pieces.
I’d like to thank the following individuals who have already donated their time and materials to the exploration and creation of this work: Andy Snethen, James Harnois, Matt Burke, Bridget Kirk, Mary Sigward, Devin Muñoz, Tabitha Steger, Kara Beadle, Meredith Pellon, Shayley Timm, and Rhea Keller.
Costs
About Impossible Maps
Transformative experiences are events in our lives that fundamentally change us. The landscape of Impossible Maps traverses through the high seas of grief and dying, takes you to the teetering cliff edge between horror and awe, and tries to plot what the terrain of the dead might look like. Along the way we’ll chart the saga of life as ancient hominid migration patterns, the shipwreck of the Medusa, the behaviors of scouting and swarming bees, the ionic dissemination of lightning, autopoietic sand dune formation, and the cultural absence of space for grief.
We’ll summon our ancestors, knowledge and traditions that have become lost, and celebrate a Spring Festival that understands the stakes of spring rites. We’ll follow those sacrificed into their many afterlives, and at last navigate how their stops, starts, and stutters in our hearts and minds must be re-oriented—reframing who they were and who we are yet to be, so we might carry them with us.
C. Asa Call
Choreographer/Creator
I am an assemblage artist that has been making work at the cross-section of dance, film, installation, and poetry for over 20 years. With a BA in Painting and Art History from Wichita State University, I moved to Seattle and soon after co-founded Coriolis Dance, leading as Co-artistic Director for 14 years. I have worked extensively in Seattle with many artists—choreographers, theater directors, sculptors, photographers, musicians, the opera, and more. I am now the owner of The Shed, a multi-use space that hosts artist residencies as well as serves as my base for teaching Pilates and dance.
Julie Alexander
Backdrop Designer/Artist
Julie Alexander paints organic grids that are about relationship. She amasses horizontal and vertical lines into a landscape that contains layered color, surface tension, undercurrents of dispersal, and social bundling. Her practice also incorporates printmaking, collage, and minimalistic sculptures. She often dismantles the painting to both reach out into the viewerʻs space and to bring the artistʻs studio space and evidence of process to the viewer. Alexander uses a variety of mediums and a variety of surfaces and objects with a strong preference toward what’s ordinary and found on hand.
