Portraits that alternate between rigour and abandon, that are at once drawn forward and turned inward.
Appearance, inhalation and disappearance lend rhythm to time and space just as fire and ice freeze and burn.
When our vision becomes blurred, it is at this precise moment that we approach the essence of being—its multiplicity, its secret. This is the moment of Capture.
I understand this project as a prolonged moment of suspension, the instant that immediately precedes an event—the heart of the interval. A dismantling of the self before a “new idea” of reorganisation. For everyone, there may exist a phase, interval or moment of passage. The desire to occupy this momentary border, edge or threshold I am moving toward….Are we capable of remaining in this transitory state of uncertainty, balanced on this edge, hinge, pivot, pole, cardinal point, on this delicate and primordial junction? In suspension?
Settling into this “transitional zone” for a time with a crew in a bid to give expression to a look that “connects” the image with the emotion. A composer, visual artist, light designer, technician and two dancing bodies come together to explore this territory and view it as an imaginary cartography—drawing its contours, shadows and light, enjoying its cold expanses, admiring its reflections and etching their misshapen images, and then, with a sound, piercing the nascent red with a laugh.
Meeting at the border, in one’s milieu, where something is happening, lends itself to seeing and may be expressed around five themes:
Man with back turned (L’homme de dos)
The Stendhal Syndrome
The cold of winter
Mirrors (distortion)
Red (appearance-disappearance)
These five themes were departure points for everyone, of which only traces remain on arrival.
In and of itself, each theme is too rich and vast to even attempt to deal with fully in the space of a show.
Must they be recognised?
Must they be sought?
What common point do they share?
Intuition, transitions and the moment of suspension.
Karine Ponties
