For Bindler, invaginations are embodied memories—of birth, violence, sickness, warmth, and tenderness. The piece manages to explore this without feeling self-indulgent and without gendering the ideas behind invagination. Throughout the performance Bindler champions invagination as a way to experience the body as an infinitely folding thing, continuously interacting with itself and its surroundings. Cleverly, the work itself also feels like an unfolding. In this way, she succeeds in making her case.
Because the movement is improvised, the goings-on have a living, breathing quality that is difficult to achieve when the choreography is laid out step-by-step. The performers in Blood, Sea succeed in creating an organic impression of thematic unity – no small feat for such a large group working together.
The Dance Journal, 2018
I think of the replicating chromosome. They sway together, like kelp undulating in the light. The motor behind their movement is serene. Gradually, one mover separates; another pulls away. The previous order disassembles, and images float to the surface. Some dancers investigate minute movements with their shoulders. One walks ahead with her left arm outstretched, her right hand firmly placed over her eyes. Other dancers join her dignified march.
Bindler’s choreography moved and washed across the floor as the three women swayed along with the tides of the sea they cannot visit. The weight of this dream world came crashing down on the audience as one by one, the women slammed rocks onto the floor creating a map of lost Palestinian cities. They kept haunting eye contact with the audience as they spoke aloud the names of each city in Arabic.
The Dance Journal, 2017
Bindler floats through the space, eyes wide and receptive. She seems always to be moving in multiple directions at once; even when very still, her energy diffuses around her. Although she never hurries, she sometimes crosses the room before I know what is happening—like a cloud shifting, or maybe I am drifting away in a boat while she remains on shore.
She danced a slow and sensuous shifting of weight with lots of inversions, the dark lighting artfully hiding her most intimate places. She radiated a strong and unapologetic femaleness, her hair or skin sometimes touching the audience. The undermining of expectations present through the whole evening was the strength of this piece. It closed with Nicole donning a snowsuit that hid all except her belly button and her long curly hair. Standing on a chair in the audience she was monumental, emoting in the voice of her lonely and angry belly button.
With unwavering confidence and ease, Bindler moved seamlessly from leading the audience in a feminist meditation, to taking a piss in the bathroom while answering Revlock’s questions, to reappearing completely naked to move through a beautifully brazen dance sequence."
I was totally with them. Their directed consciousness invited me in to a dance of attention. An internal landscape. Still life with presence. A portrait, framed by life outside.
Brilliantly conceived, choreographed, and performed, Bindler and Revlock’s I made this for you. was more question than artistic statement though it offered more answers than might be expected from such an ostensibly satirical show.
Seattle Dances, 2014
It was hilarious. It was weird. I didn’t really get it. I doubt I was really supposed to. But it was also wildly entertaining — I couldn't keep my eyes off of the two. Their unpredictability was captivating.
Philadelphia City Paper, 2014
These moments of synchronicity evolved into a satisfying end with the two swirling toward another, a pair of gyroscopes meeting.”
"Hay’s principle instruction to all participants is to “invite being seen.” Bindler gets this. In I Think Not, even her eyeballs don’t mind being looked into."
Chris Dohse, NYC based freelance journalist, 2012
“Gabrielle Revlock and Nicole Bindler’s exuberant, brash, crowd-pleasing, insidery, rambunctious I made this for you demands its own space. It was showy, it was sprawling, it literally blew the doors of the space open.”
"...refreshing originality, brilliance in conception and raunchy entertaining fun"
Broad Street review, 2011
"Nicole has focused a majority of her career on exploring improvisation as a unique form, and has amassed a particularly celebrated roster of musical collaborators."
"A ﬁxture in Philadelphia’s experimental dance scene... ...Nicole Bindler is known for riveting performances."
Philadelphia Weekly, 2010
"Nicole Bindler is a frequent contributor to the avant-garde creative energy of Philadelphia."
Teresa Shockley, Director of the Community Education Center, 2007
"It takes a certain kind of dance group to have members improvise a performance for ﬁve hours. Nicole Bindler... ...is the mastermind behind such a company."
South Philly Review, 2006
"Nicole Bindler’s “Print” is the most engaging – if most confounding – performance on the docket"
Philadelphia City Paper, 2005
"The festival's most stirring performance... eerie intensity"
Signal to Noise, 2004
"among the most extraordinary things I've ever witnessed"
"hilarious... caused a small uproar"
Distortion Music Magazine, 2003
"One of the most impressive young women on the local scene"
The Boston Herald, 2002
"...solid technical facility, a postmodern sensibility, a fondness for minimalist music and a strong sense of the theatrical... hypnotic"
The Boston Globe, 2001