How do you go from drag mime to this? To be honest I can’t consciously pinpoint the exact trajectory. After a slow start, I decided that when you can’t generate something from within, you can generate it from without – all roads lead to Rome after all. I started by shopping. After trying on a range of totally ridiculous dresses to wear for this portion of the residency (including one that looked very much like Rachel’s floaty white number – seriously, the fashun these days… where do these people hang out if not in a performance?), I settled on this number. Instantly, the vibes started flowing again.
There is something both dramatic and a bit demure about this dress. I started experimenting with the slow-motion on my phone camera (impressive!) after enjoying Rachel’s previous post. I also started experimenting with cropping the frame – focusing on small details – much like the mime hands. Something started to form. Before long I became slightly obsessed with the potential of artificial slowness. I mean I could just move slowly, I suppose, but there’s something about the effort of the movement slowed down through the lens that brings a certain dramatic quality, even for the most simple of movements. Experimenting with vignettes to Tess’s sounds I started forming a kind of “dances for end-times”.
Which brings me to the sparkly curtain. The apocalypse felt like it needed a bit more glitz. For no reason other than the need to find joy in the small things. To look closer, to feel more deeply, to savour every moment. And celebrate.