-
Ongoing 2024-2025
- Stuck
- You are so poetic
- Windfall
- Real News
- Reevaluating
- Observing Time
- Drifting in Unconsciousness
- There is a new light
- I am a bridge, a window
- My Sensitive Friend
lakshtanovao@gmail.com
indirect experience, control,
images, detachment, beauty
Behind the TV, another person observes this scene from a distance, watching the illuminated spectator:
Prototype exhibited at NGO DEI in Den Haag, The Netherlands.
First interaction test:
(Turn on the camera, stand in front of the camera)
- So, now I am going to dance.
(prepare body to dance)
- I will dance beautifully.
(start dancing)
- Since dance can only be beautiful.
(dance)
- My arms long, like of a ballerina.
(enhance the arm movements)
- Personifying a swan
(stretching them out from the body)
- Or a tornado
(the movement is similar,
continue while rotating the body)
- I dance beautifully
(don’t stop moving,
increase speed)
- The energy spiraling through my body
(move different parts of the body sequently,
one after another, as if connected)
- Like just now, it will go through my spine and then
(be conscious of your spine - accumulate the energy)
- Through my elbows until the end of my fingertips
(how is it connected to the elbows,
and the elbows to the fingertips? -
release the energy)
- Moving as smoothly as possible
(increase video speed in post-production)
- Oups, sometimes I can’t be smooth
(lose control and go against the wall,
that is invisible because of post production)
- Even though I really try
(look genuine - put even more effort into the movement)
- However, to mask my lack of smoothness
(accept the roughness of the movement)
- I can always trip on purpose
(pretend falling)
- And fall beautifully
(gently lay down)
The television screen displays a performer dancing ( beautifully). A spectator sits on a sofa, watching it, sometimes fully immersed in the performance, at other times detached, their attention wavering between the vivid motion on the screen and the content beyond it. By moving their arm to the right or left, as if brushing away a fly, they change the background behind the performer. The options are endless, but all depict skies with no saturation.
Behind the TV, another person observes this scene from a distance, watching the illuminated spectator:
I was bored, had just woken up and still lying in bed, looking at me from above the greyest sky, I knew - this day would be empty.
I was (bored and) numb, browsing my phone for some excitement, some meaning. And there it was, the spectacle of the day, the flood in Spain. A perfectly situated spectacle, enough close, enough distant.
I am first submerged in all possible emotions from horror to rapture, which in words I wouldn't know how to express - petrified, paralysed, laying body on a bed surrounded by walls and a roof and a heating system, and a window (with a grey sky), and silence, a paralysed body with one only finger still able to react.
The thumb, from movements down and right to quicker and quicker makes appear image after image. Anxiety as a defence against anxiety.
I need to know more, no, I need to see more. More, please, more of yellow dirt. And more water, please, be deeper, faster, more dangerous and dirtier.
Please, don’t kill, don’t destroy, don’t make them suffer. (“He doesn't desire their bodies(...)")
More, more of deserted landscapes, more of ruins.
Water, flow faster, swallow everything in your way, be the protagonist of the frame, fill in all the space between the 4 corners of the image. (“He wants their presence in the form of filmed images”)
(Now I know, this is serious.)
Ruins, be more ruined, more demolished, devastated, damaged, crushed, smaller, insignificant, abstract, unidentified, anonymous, abandoned, lonely. Be proud of your loneliness and your pain. Stay poetic and beautiful.
As I desired a burling yellow mass was created.