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WIM VANDEKEYBUS: SCULPTING SPACE WITH THE BODY

Wim Vandekeybus has been a major influence on my creative journey for over a decade. His work stands out because of the way he uses the human body as a primary tool for creating dynamic spaces. His choreography feels raw and visceral, where every movement seems to reshape the environment, transforming the stage into a living, breathing entity. What fascinates me most is how his dancers interact with each other and the surroundings, crafting an ever-changing scenography purely through physical expression.

Wim’s work often embraces the tension between chaos and control, a duality that gives his performances a unique energy. While his primary medium is the body, he occasionally uses projections to deepen the visual impact of his scenes, adding layers of texture and depth to the physicality on stage. This interplay between minimalism and technological support resonates with my vision of scenography, inspiring me to consider how space can be built and transformed without relying heavily on external tools. Wim’s ability to craft complex narratives through movement alone continually pushes me to explore the boundaries of physical and spatial storytelling.

BARBARA HANNIGAN: THE MAGIC OF CONDUCTING

For as long as I can remember, I’ve been deeply inspired by conductors, particularly women, and how their bodies become instruments of orchestral control. Barbara Hannigan is a conductor who, for me, exemplifies this power. Watching her work, I’m reminded of a wizard commanding their domain, guiding an entire orchestra with a mere movement of her hand. Her body becomes an extension of the music, a dance in itself, as she navigates through the intricate soundscapes, transforming the air around her.

What fascinates me most about Barbara is the seamless connection she creates between her body and the orchestra. Every gesture she makes is precise yet fluid, an embodiment of the music that she is interpreting. The way she interacts with the musicians, directing them with such finesse, mirrors the way a performer can control and shape their environment through movement. There’s something almost magical about it—the ability to manipulate the collective energy of the musicians and bring an entire orchestra to life with a single hand. It’s this intriguing body language that speaks to me, and it’s a quality I strive to incorporate into my work, where the performer’s body doesn’t just act in space—it commands it.

TARA DONOVAN: PAPER TOWERS

Tara Donovan’s monumental paper towers transform a space into an immersive, atmospheric experience. Upon initial observation, these towering structures evoke the vastness of glaciers, their monumental presence demanding attention. Yet, on a closer inspection, the viewer discovers that these formations are meticulously crafted from tiny crisscrossing paper squares, the size of Post-It notes or index cards. Donovan herself articulates the connection between the human body and her work, explaining that the scale and placement of her sculptures are deliberately designed to evoke a theatrical atmosphere. The lighting and spatial arrangement play critical roles, creating a sense of movement and perspective as the viewer shifts their position within the gallery. This dynamic relationship between the art and the observer adds an experiential layer to the sculptures, making the space feel alive with perceptual change.

In her larger body of work, Donovan often takes everyday materials and transforms them into sculptures that mirror the forms found in nature, creating biomorphic shapes and topographical landscapes. Her process is deeply thoughtful and deliberate, often requiring years of consideration in terms of how to arrange the identical objects into forms that are both minimalist and complex. This process of iteration, where seemingly simple materials like acrylic and adhesive come together to create intricate, larger-than-life works, allows for the subtle intricacies of each piece to reveal themselves over time. Donovan’s sculptures are not static; they play with the surrounding space, shifting and evolving based on the viewer’s engagement, making them a fascinating blend of nature, architecture, and performance art.

MiMU GLOVES: EMPOWERING THE PERFORMER THROUGH TECHNOLOGY

During the Wearables week at Fabricademy, I discovered MiMU Gloves, a groundbreaking creation developed by Imogen Heap and her team. These gloves transform simple hand gestures into an interactive creative interface. This discovery felt like a natural extension of my own “magic glove” project, where I explored the potential of the hand as a tool for controlling and shaping experiences. MiMU Gloves elevate this concept by providing performers with the ability to manipulate sound, visuals, and even lighting in real-time, seamlessly blending the physical and digital worlds.

What I find most inspiring about MiMU Gloves is how they empower the performer. By using intuitive gestures, they allow artists to control their environment without needing bulky or intrusive tools. The gloves embody a beautiful synergy of design, technology, and expression, making them a perfect example of how wearable devices can enhance scenography. Their ability to make performance spaces more fluid and interactive opened new doors for me to rethink the relationship between the performer and their surroundings, where gestures can act as a bridge between creativity and technology.

ELASTICA: DYNAMIC WEARABLE SCENOGRAPHY

Elastica, created by Erica Sandri and Arianna Gassilli, is a revolutionary wearable suit that I came across while researching DIY wearable technologies. What drew me to this project was its simplicity and brilliance—it uses low-cost embroidered stretch sensors to transform the performer’s body into a live interface. As the performer moves, the sensors translate physical gestures into sound and data visualizations, creating a scenographic experience that evolves with the performance.

This project aligns deeply with my interest in wearable technologies and their potential to reshape scenography. What makes Elastica so fascinating is its ability to blur the boundaries between the performer and the environment. The suit turns the body into a tool for storytelling, where every gesture adds a new layer to the narrative. It’s not just a costume—it’s an integral part of the scenography, responsive and alive, creating a dynamic interaction between the performer, the audience, and the space.

FLORENT AZIOSMANOFF: THE GARDEN OF LOVE

Florent Aziosmanoff’s Le Jardin des Amours is a brilliant exploration of how objects and technology can evoke emotions and interpersonal dynamics. In this interactive installation, everyday items like benches, trash bins, and lamps come to life, governed by the whims of an algorithmic “libido.” These objects are not merely functional but instead exhibit behaviors of attraction, repulsion, and communication, creating an unexpected dialogue between the environment and its visitors. This playful, almost theatrical interaction draws from the subtle emotional undercurrents in Marivaux’s works, where characters are defined by their desires and conflicts. The objects interact not just with people but with each other, creating a constantly evolving narrative in the public space.

What excites me most about Le Jardin des Amours is its ability to reframe the relationship between people and the objects that surround them. It challenges the conventional, passive interaction with everyday items, replacing functionality with emotional and playful engagement. This idea of living, responsive environments stirs a vision of how spaces and objects could be transformed into catalysts for connection, sparking curiosity and wonder in their unpredictability. By blending technology, art, and human behavior, Aziosmanoff’s work shows how public art can be a form of social engagement, creating spaces that are not only visually dynamic but also emotionally resonant.