From my desk at school, to lockdown in my home, my practice as scenographer is defined by adapting to the space I am in. I have used re-locating as an actual technique and the term itself almost became the title for my final research document. I felt fortunate that my methodology of observing, translating, and archiving is intentionally developed with the ability to re-locate.
During the lockdown - like most people - I experienced good and bad days , but my research being rooted in ways of adapting kept me grounded. I found solace and clarity through making. Whether it was writing, or translating the light on my walls into architecture the activity of diligently continuing gave me clarity in my theories, and even more curiosity to keep researching. I was also energised by not hiding the fact that my document took place during the COVID19 lockdown.
With my research document completed, and confidence from my tutors I entered Het Huis with the intention proving my methodology. I gave myself an abstract
“Inspired by light and movement, I use my aesthetic sensibilities to invite the spectator into my perspective. I present my observations of the space around me though handcrafted models, intimate performances, and writing.
Now with the opportunity to work for a month in a studio space what will happen?
I will draw my methodology from my thesis
"a retrospective scenography: a scenographic strategy for translating the everyday into art"
With limited spectator contact as we are only slowly opening up from lockdown, how can I share the simple aw of the everyday.”
The room itself couldn’t be better suited for my aesthetic. A huge amount of natural light, etherial curtains moving in the wind, and a warm evening light that travels through the room.
Through observation I saw the muted gray of the mornings, I knew that at 12:55 the first golden light came in and continued past the hours I could see when the house was closed.
Through translating I began research into materials, and reading about different atmospheres created by natural light. I was generating content, actors and sets made of glass and paper. I was curious about how light reacts to skin, fabric, mirrors, and shadows. I discussed how a performance here would be dictated by the changing atmospheric quality of the time. And potentials for how to broadcast these scenes.
