Experiment B: Preparations for Preparations for Preparations
(A scene in Katalysis requires paintings as key-props. I decide that painting them from my own photographic work is the best methodology, and I re-appropriate the session to work with this research.)
I repeat the excersize as reported above but with a new actor Eline, who cast for the film, didn’t get the part, but nevertheless intrigued me.
The excersize goes well. I conduct it in a large studio surrounded by props and in atmospheric studio lighting. In 15 minutes we both say how it feels that we know each other extremely well. Yes, we are both nervous, me more so perhaps, but this is overcome. The photo shoot is the most natural and enjoyable I think I have ever conducted; rather than directing and photographing a stranger I feel as though I’m working with a good friend. There is no doubting that this pseudo-familiarisation came close to alluring; an atmosphere had been created as a by-product of the excersize. The merits of which, if balanced correctly, can infuse the work with the same energies.
I am convinced that action via intimate collaboration could create meaningful new work but the territory needs to be managed better than my beginnings. I can also imagine that this communion can operate between self and objects, thoughts, etc.