In the House of Skin
(The Performance Space, Sydney, March 1996. Funded by the Australia Council (Dance Fund).)
Gravity Feed's first major work and the one that put it on the map for many Sydneysiders. It has power, force, it comes at an audience with teeth bared. Masculinity bulging with its own energy, sweat, fucking-hard work, pounding, leaping, jumping, spinning, shattering, bursting out of the house of skin. Death, as always, is at the centre, leaping up with its own vitality animating the inanimate, breathing life into all those who feel its touch.
Turning, disappearing, reappearing, hands, arms merging with matter, revolving lost lives vanishing. The building shakes, nothing seems stable, panel upon panel, door upon door, exit and opening, are carried like messiahs, kings and queens on backs of imbeciles spinning in and out of spasms. Door upon door is piled high, weight bearing down, crushing bodies, no rest under there.
Wires, steel braces, flesh, membranes, lightning speed and there it is; a solid construction in which one can hide, circle around, turn end over end and hoist toward the sky and dance upon. Voluptuous moment, all is incidental, an action here and there, a hideous sight, a sorrowful sight, all performers lost in their own repetitive world oblivious to all around. Exists open and close, a man climbs a ladder, another flays his body in the shadows, others bury the dead. Worlds within worlds all animating their own skins with intensities that draw us in. Construction-destruction, life forcing itself upon all in its way, a roof that caves in.
This was to be an investigation of the ritual of work, where performers constructed geometric objects and spaces with 30 large heavy doors, a struggle between man and matter developing into an obsessive pitch. It became much more than that.