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Maka five-floor house
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Tier 9 - Georgian Collective Costume / props / set - Georgian collective
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Cage Tier 9
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triangle For me its not about creating a fixed setting but about opening a space that can shift and transform. I use props and materials as partners that can change meaning in the moment—sometimes they support, sometimes they resist, sometimes they completely turn the direction of the piece. I am interested in this paradox, because it shows how fragile and unstable our ideas of objects and spaces really are. In this sense, is not decoration or background, but an active presence in the work. It shapes how the body moves, how emotions are felt, and how stories are sensed. Through this, I search for ways to make visible what normally stays hidden in the everyday life of things.
In one of my creations i worked with a small (light) pyramid, and I have always been intigued by the triangle form itself. It is simple, yet deeply symbolic—stable yet dynamic, pointing upward as if toward something beyond, something unseen. The triangle embodies the tension I often explore: making the invisible visible. It carries a subtle, almost subliminal message—a metaphor for symbols we encounter daily but have largely lost touch with. it suggests that even the simplest form can hold layers of meaning, …I became more aware of how geometry is sublimed within my practice—how forms, angles, and lines quietly choreograph perception. This realization, coming from the way I engage with my props, has opened a new way of seeing my work, revealing patterns and structures. Moving forward, I would want to use this awareness with more intention
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Mask To answer about the tier for this week: I actually never really worked
with objects. For my piece Khôra I worked with a set of foam, but it served more as a landscape than an object.
However, I started working with masks in Khôra and have been working with them since. I feel that this is sometimes perceived as controversial or agressive because I consciously take away the face, which can be perceived as dehumanizing, at the same time it heightens our awareness of other body parts, making them overly human.
In my current production I am again working with masks so I feel I am not at the end of that journey yet.
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Set/ prop I noticed that if i Use scenography/ objects: it is mostly blocks. In the piece where I have used blocks, they are used with a different meaning to the world we are creating. But it is a recurring theme, which I just realized now with this assignment.
They way I am using it in the last creation is more realistic then in the other creations, now it really serves as a bench to sit/stand/move on. Where as in the other works it was more abstract and used more dynamically.
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Decor/ set/ object I noticed that if i Use scenography/ objects: it is mostly blocks. In the piece where I have used blocks, they are used with a different meaning to the world we are creating. But it is a recurring theme, which I just realized now with this assignment.
They way I am using it in the last creation is more realistic then in the other creations, now it really serves as a bench to sit/stand/move on. Where as in the other works it was more abstract and used more dynamically.
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puppet_play Virtual head created with image-to-3Dportrait-software. Puppeted in real time via (face) motion capture data, streamed from my smartphone camera into Blender over the local network.
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‘I really want to stay here now’ The car in the photo is part of the piece ‘I really want to stay here now’.The idea was to dismantle it live at one point in the piece, an action that served as a metaphor for transcending and dismantling Fordism.
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Scenography object by object Improvisation where we add objects one by one to create scenography.
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Choreographic Lines #9 Mercedes improvising with Choreographic Lines of tape on the floor.
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Choreographic Lines #8 Lines of choreographic and scenographic tape.
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Choreographic Lines #7 Falling lines of tape.
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Choreographic Lines #6 Aura improvising with Choreographic Lines of tape.
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Choreographic Lines #5 Júlio improvising with Choreographic Lines of tape.
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Choreographic Lines #4 Júlio improvising with Choreographic Lines of tape.
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Choreographic Lines #3 Aura improvising with Choreographic Lines of tape on the floor.
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Castle Final composition from the exercise ‘Castle’ which consists in each person (re-)positioning an object in the space
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Choreographic Lines #2 Sol improvising with Choreographic Lines of tape on the floor.
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Dioscorea Mexicana The Dioscorea Mexicana, also known as Mexican Yam, is a revolutionary plant from the XX century, since it’s rich in diosgenin which was extracted to produce oral contraceptives and synthetic hormones, I used one of this plants in my show and I wished I used many more to research on queer ecologies and alternative ways of accessing HTR
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Choreographic Lines #1 Members of the portuguese colletive playing with choreographic lines made of tape.
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Choreographic Lines | Set Up Drawing the lines of the body, lines of support and creative lines.
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GoldenLady My object is gold
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Golden tape This object merges the props brought by Mercedes (gold) and Júlio (tape) that gathered the collective attention
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[Smell of beeswax] Riverbed made from cotton fabric impregnated with beeswax. Handcrafted construction invented for the creation of a metaphorical river. Its potential lies in focusing on a community task that generates shared conversations.