STAGING AS ORIGINATION 


I want to stage found objects within a setting which puts them in contrast to their "historical" origins. Does the background of where they may have come from define them as they are today? 


I want to question the perception of "origin" and the tense we perceive it from. Is it something that changes and develops in our present? and not merely our identity placed in the past?


"Surreal Minimalism" is an direction I would like to explore. By staging the objects in surreal atmospheres through light, positioning and sound. The aim with exploring surrealism is to convey the "irrational juxtaposition of images" which I have titled "Incoherent narratives" in my research so far. Creating new settings for objects which together become a part of another environment. 


I am continuously piecing together my curiosities and discovering the layers, which by exploring them scenographically begin to unravel. The obsession with "origin" explored through these collected objects is a reflection of my own relationship with my identity. Not identifying with being entirely where I was born, nor where I was raised, nor where I first moved to independently, nor where I am currently. I have come to realise that my coping mechanism to this constant unknowing and new settings is to create my own avant-garde world which is continuous in all settings I find myself in. These are the types of settings I want to explore 

scenographically.


In contrast to this I am also discovering my interest in situating and positioning elements into space by noticing things already presented in the space and finding a way to harmonize or contrast this. Moving forward, I would like to explore both directions scenographically, to see what direction works better with certain topics and ways of presenting them. Are people more present or open when it is a more "fictional" / "unreal" setting or in spaces which are recognizable or public? For the way-point I will experiment with both and see what direction feeds my research more .

HOW CAN I ORIGINATE / IMPLEMENT / INTRODUCE A SUBJECT INTO A SPACE BY RE-GENERATING / INTEGRATING / RE-INTERPRETING THE ORIGINAL CHARACTERISTICS OF THE SPACE/SUBJECT?

WHAT NOW?

 

Moving forward I would like to explore these methods of working to better understand spaces as they present themselves to us to then be able to introduce ourselves and our ideas into them. Can what is already present be re-generated into a space as a means of re-interpreting it. As a way of "referencing" it into my own work. The challange for me will be to find a balance between what information I discover about the site and to connect that with what subjects I introduce in the space, for example audio narration.


Additionally, relatability is another part of my research connected with participation which I want to include into the work. To make it digestable and captivating by the way it is staged and introduced.

SETTING SPACE & FREEDOM OF AUTHORSHIP

 

PRESENCE OF A PERSON 


I placed my own body into the composition to explore how I can become part of or in harmony with this introduced object. Establishing a relationship between space we find ourselves in and what it contains. I enjoyed this intuitive maneuvering with my body in relation to the placed object. I experimented with the infinity loop which portrays this endless possibility of excavating inspiration from our sources, mirroring it back into space. 

RE-GENERATING INSPIRATION


Using the edited images of the same space as inspiration for re-interpreting the space again. Practicing a method of looping inspiration back into the space or in this case also the object. How many versions of the object can be inspired by itself. And what can it become? 


I played with light and positioning to get this deep purple colour which is seen on the edited photos. I also used projection with live recording to get this infinity loop. I want to experiment further with how this loop can portray this endless possibilities of references and inspiration. And also how it could also play a part in involving the audience as part of the composition.