"Don’t you know the house?
The love gods marketplace of passions,...
Its gates are signed by the love god ..."
The main image I created the movement on was an abstract description of the gates- tracing the details, feeling its texture, following the height and width, etc. It was overlaid with the emotional content of a woman reflecting the "marketplace of passions" from the threshold of the gate.
I gave this feedback before I knew which part of the poem you used! Now it makes sense what I was picking up on. Here is what I wrote:
ReplyDeleteIt looks like you are caught in a narrow, uncomfortable space, feeling like you have to hold up the walls, peering out from a small space.
At other times you are tracing or stirring with the finger –cooking or painting pointing or tracing upward and later multiple directions –looking out past confines? deciding which way to go?
Your hands make a placement on the walls-sometimes marking a confinement, sometimes leaning into them as comfort or potentially sadness, but not quite.
Your performance feels very calm and systematic, even as the reoccurring image of balancing on your pelvis seems slightly awkward (not that you’re performing it awkwardly, but it evokes a sense of being in an awkward situation). It makes me think that for that woman life keeps reoccurring in patterns that are not quite comfortable, but that she has found a way of dealing and creating some kind of small comfort within them.
She does not fight, but does make small changes. But even in choosing to change direction occasionally, she just ends up in the same position of simultaneously being confined and holding things up.
I also found the ends of what I realize now are your shadow puppets a fascinating part of the picture. Something compelling about the irregular lines above you. If we were to see the whole shadow puppet, I would almost begin to think you are one too in such a bound world with parts feeling almost 2 dimensional.