THE SEEING STORIES

Rooted in dance but defined by action, The Seeing Stories is a large-scale visual art/dance work bringing together 10–15 professional dancers in a meditation that embraces individual agency within collective movement.

For an artist, the process is not merely preparation—it is the work. And for Hoskins, The Seeing Stories has been, above all, an act of process: not a straight line toward completion, but a prolonged, layered excavation. This work arises from the residue of prior inquiries, from FIELDWORK and its durational mapping of body and material, but departs into a more porous, risk-filled territory. This is not a continuation so much as a shedding.

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Art is often romanticized as revelation—but the truer narrative is one of persistence. To create The Seeing Stories has meant refusing the comfort of certainty. It has required stepping into the opacity of the unknown, allowing form to emerge not from intent but from encounter. The work has demanded Hoskins relinquish authorship in its traditional sense—to no longer be the sole architect, but to become a listener, a facilitator of questions without immediate answers.

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This is not to say the work lacks rigor. On the contrary, the rigor lies in the attention. In the refusal to overdetermine. In the willingness to let slowness be generative. Time, in this process, has not been a limitation but a material—stretching across pandemic interruptions, personal loss, and shifting landscapes of collaboration. And with time came transformation—not only of the work, but of the artist.

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What emerges is an ethic of trust: in the performers, in the material, in the idea that what is felt might be more truthful than what is explained. Working with new voices—dancers, collaborators, perspectives—has brought a necessary friction, a kind of aesthetic recalibration. Hoskins has not sought to impose vision, but to hold space for the unanticipated, the subtle, the not-yet-formed.

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This phase in Hoskins’ practice is not a reinvention, but a reorientation—toward humility, toward intuition, toward the beauty of what resists naming. It is an affirmation that art is not only about making something seen, but about seeing what was already there, waiting—just outside the frame.