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E r y k a   D e l l e n b a c h (she/they)
is a Chicago-bred filmmaker, choreographer, performer and teaching artist based in California’s East Bay on Lisjan Ohlone territory. Her embodied films, soundscapes and evocative, multidisciplinary performances are rites of carefully designed sensation that mine  psychophysical thresholds and the malleability of consciousness. Eryka regards work process as life and values close and longterm collaboration, intimacy with brutal climates, rituals of consent, conflict+resolution, fantasy and world-building.

She has worked with and performed in the works of an eclectic variety of dance/performance artists including  Atsushi Takenouchi, Tori Wränes, Tino Sehgal, Blair Thomas Puppet Theatre, Amanda Gutierrez, HOGG, Michael Zerang & Eva Mag. Her process and technique have been heavily informed by her  teachers Wendy Clinard (flamenco), Atsushi Takenouchi (Butoh), Vangeline (Butoh), Deborah Stratman (celluloid film), Joshua Grainger (capoeira) and the late Dr. Waud Kracke (psychoanalytic-anthropology).

Eryka has presented work at Movement Research at the Judson Memorial Church, Anthology Film Archives, Roulette Intermedium, Green River Cemetery, Virginia Commonwealth University, Intuit Outsider Art Museum, The Art Institute Museum of Chicago, Links Hall, No Nation Gallery, and internationally at the Shiryaevo Bienalle of Contemporary Art (Russia), Spazio Nu (Italy) and Schloss Bröllin (Germany). 

She earned a bachelor’s degree in Cultural Anthropology from the Universiy 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 a choreographer, performer, artist teacher, performance documentarian, DP, camera operator, and contracted worker. She is a collaborator of transnational group HEKLER.

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>>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