Opulence and extravagance that seemed to fade at the same time the protagonists succumbed to the fugacity of the moment: they collapsed for a second and, suddenly, we were in another thing. A strong narrative and visual language which remind us that ephemeral beauty can arise even from the smallest details.
With the music composition by Andreas Berger, the performers’ physical sound field is also constantly altered and transformed. Andreas is also a member of Liquid Loft, together with Stephanie Cumming and Thomas Jelinek, bringing contemporary pieces of dance to life by integrating them with other forms and artistic disciplines.
Chris confessed to us that during his stay in Madrid, he had some spare time to visit the Museo del Prado, where he was impressed by the painting The Garden of Early Delights, by Hieronymus Bosh, which is one of the inspiration themes that visual artist Michel Blazy adapted for Deep Dish, representing this metaphor about the risks of nature and its uncontrollable sensuality: “Variations and metamorphoses, forms and patterns come to act implicitly, just the way they are demanded of human nature”, explained Chris.
Another thing that we figured out is that improvising with the fruit and the camera is so fascinating that you have to make a strong contrast: to do this colourful and fruitful garden, I think you have to make the movement choreographed with a visual effect in the background or put the body always in front of the screen and the audience.
There are also some other things like the stress or the emotions which are often produced; the movement often comes afterwards. We were thinking of what was necessary, and I promise you I wanted to make a real dance at the beginning – with movement and crazy things – but it was too much, so we figured out that the more you take away, the more intense is the movement. There shouldn’t be too much movement.
Our next project is a release in Vienna next week, titled Models of Reality, which works with the idea of Bauhaus, as it’s the 100th anniversary of the art school this year – this show is more related to architecture. What we did is to record the sound of materials like the rustling of the leaves, the crunching of gravel, or sounds that arise from the friction of surfaces such as concrete, glass, and paper. These sounds remind us that rooms are also choreographed sound processes and are brought together with some movements. If you relate it with sounds, it creates authentic emotions.