photo by Maria Baranova-Suzuki

E r y k a   D e l l e n b a c h (she/they)
a Chicago-bred filmmaker and body artist based in California’s East Bay on Lisjan Ohlone territory. Her embodied films and performances are rites of passage driven by consent, inquisitive hedonisms and a longing for connection. Their works mine relationships to power, the malleability of consciousness and psychophysical thresholds.

Her process and technique have been informed by studies in dances of resistance and especially by her teachers Wendy Clinard (flamenco), Atsushi Takenouchi (Butoh), Vangeline (Butoh), Deborah Stratman (celluloid film), and the late Dr. Waud Kracke (psychoanalytic-anthropologist). She has worked with artists across mediums including Atsushi Takenouchi, Tino Sehgal, Amanda Gutierrez, Tori Wrånes, Éva Mag, Matty Davis, Nola Sporn Smith, Amelia de Rudder/La Casa de Satanas and the band HOGG

Eryka has presented work at venues such as Movement Research at the Judson Memorial Church, Ann Arbor Film Festival, Anthology Film Archives, Roulette Intermedium, Green River Cemetery, Virginia Commonwealth University, Intuit Outsider Art Museum, Links Hall, No Nation Gallery, and at the Shiryaevo Bienalle of Contemporary Art (Russia). She has been a resident artist at eX...it! international butoh dance exchange and performance festival (Germany), Earthdance (MA), Echo Luna (Ukraine), Cucalorus (NC) and will be at Perfocraze 2021 in Ghana.

She earned a bachelor’s degree in Cultural Anthropology from the University of Illinois at Chicago, and a master’s degree in Film, Video, New Media, Animation and Sound from the School of the Art Institute of Chicago.

She works as an independent, freelance filmmaker, mover, choreographer and contracted worker. She is a celluloid filmmaking instructor at MONO NO AWAREa collaborator of the transnational group HEKLER and an advocate with California Coalition for Women Prisoners (CCWP).

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image by Raven Jackson


>>Read more at Vanessa Ague’s ROAD TO SOUND<<


music film for Jordan Reyes’ new album >>SAND LIKE STARDUST<<

featuring: Ryan Greenlee, ONO aka P Micheal Grego, travis, Connor Tomaka & Jordan Reyes, Contessa the horse

The experience of making Rebirth at Dusk was like a non-linear, acid-folk [mid]western heroes’ journey, with an emphasis on reckoning and transformation rather than a singular victory for a single hero. The film essentially traces the conversations Jordan and I had in development around the album's concept. We started by looking at the complex, many-layered history of the vaquero, and how the North American cowboy of contemporary imaginations descended from that through multiple stages of colonialism. The cowboy also symbolizes an eroticized hyper-masculinity for many people. Through talking with friends, pulling from my past life as a horse-girl and background in Butoh, I felt inclined to imagine the cowboy as an ecosensual outsider, someone scrappy and a little magical with an amorous love of the land, but who is reckoning with their identity’s legacy and ancestry. These juxtapositions had strong, resonant intersections with other elements, such as Jordan’s mixed Irish and Tejano heritage, the syncretization of the Aztec goddess Tonantzin and Our Lady of Guadalupe and the psychogeography and inhabitation history of the sites of industrial ruin in Chicago’s far south that we worked with. . .Our performing collaborators shaped their characters through their wardrobes and personal reactions to the open ‘cowboy’ prompt and we moved from there between a choreographic script and improvisation. One of my favorite moments was when, at the base of a dune, travis opened his suitcase full of clothes and props and exclaimed ‘this is an interrogation!’. The open creative structure combined with a distinctive group of powerful sites and formidable personalities created new avenues of collaboration and world building. I shot the whole video handheld on digital and 16mm expired celluloid mediums to emphasize the feeling of being in-the-world with the characters and locations and evoke the feeling of shifting in time and context.                                                -Eryka Dellenbach