Guest
In all of her work, across stage and screen, movement and direction, Holly Blakey continually draws from a place of incredible emotional generosity. “I always try and remember this idea: it’s all yours, it’s all yours,” she explains. “I’m giving you something of me, for you to look at something of you. You know when you read your favorite book and you swear it’s been written about you and your life. I want my work to do that.” From her work behind the camera as director and choreographer, for fashion houses such as Gucci and Dior and musicians such as Mica Levi, Yves Tumor and her partner Gwilym Gold, to her boundary-shattering, iconoclastic live works staged at the Southbank Centre, including Some Greater Class (2017), Cowpuncher (2018) and Cowpuncher My Ass (2020), Blakey is always committed to offering something of herself up to her audience. Through movement she builds an invocation to an honesty and intimacy that is at once tender and confrontational. “When I’m making work I want to be honest,” she level
