Proportions

In Proportions Maurer, lying on a long clean strip of paper, uses her own body height as a benchmark, then splits this distance into halves, then quarters. After further labeling the quarters she creates a musical staff based on her own physical proportions, and fills in the staff by using her own body as the notes. The essence of ballet and ballet experience is repetition. 
(And I am convinced that this is generally a decisive feature of Maurer’s ideology as well as her notion of space and time.) What matters is that for Maurer, whether it is the presented fragment of a process, or the recording and use thereof with simple and minimalistic devices, gestures are crystallized from their context by the means of repetition, thus receiving a specific meaning. Therefore, repetition that provides processes with a rhythm and character appears as choreography and creates sensitivity in the spectator, which makes one perceive fertile tension and beauty springing from the differentiation between elements of repetition and from repetition itself. (István Antal)