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The Gravity of the Situation(Funded by the Australia Council & NSW Ministry for the Arts [Dance Programs]. A site-based work, Millers Point, March 1998) In the same vein as In the House of Skin, only this time working with much lighter material (cardboard), Gravity Feed put on another high energy performance. The main element of this work is a large mobile cube with multiple variables: sides that spin and collapse, a roof that swings down, a magicians box in which performers and things seem to disappear and panels composed of a number of layers of cardboard, the source of illumination. The cube undergoes a metamorphis, a sacrifical transformation, a savagery, a choreography. Large panels of cardboard are torn from its sides and subjected to rituals of spinning, turning; end over end with huge gusts of wind they are flipped in and out of darkness and light, they are elevated vertically on up-stretched arms and fall in dust, preparation for fire and ecstasy. Gyrating in and out the cube, busy in deformed obsessive action, driven on, conjurers of energy, high priests, vagabonds, losers; rotating around steel rods that dig out the earth, scattering salt, setting fire, rattling at the walls that rain the clothes of dead-men. Roaming lights, buckets of fire that swing, casting shadows of magnitude, reflecting doom. Rolling across the ground an endless file of bodies moving with slow momentum to their death. Taken up into the Cube, made to squirm endlessly in its geometric world, sad feet revealed , bodies divided and scattered here and there. Panels falling, sides caving in, a roof that collapses, wheeled to its fate, spun on its axis, small flames of blue-fire ignite on the membrane of the cardboard, a self-combustion, a burning bush, sign of divinity here. An audience is witness to the event.
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