Layer by Layer



Oslo; Norway




We all came out of a cradle. Since birth, we have been wrapped up, protected against direct exposure to the world. We always have been secured, always shielded behind one of the layers. Since birth, the world around us has been a cradle, the sacred place which is kept inside our memory.


From the very first day of our life, we have been in a very sensitive contact of personal space and the space around. We are always inside some protective form, starting from being in the mother's body and wrapping us right after the birth. From the first day around us there is some kind of shell: we obtain protection from direct interactions with the outside world. We can reasonably talk about direct contacts of the body with the surrounding reality, but anyway, any contact still occurs through our shells. In the same way while talking about our closeness to nature, we still cannot abstract ourselves from the experience of living in closed houses, whose interiors become natural and familiar for us, regardless of our desires. It seems that to be 'wrapped up', i.e. 'protected' from the moment of birth to each new day is the most natural state, due to both physiology and daily context.



 To study the costume, I reviewed the routine process (cleaning). On the one hand, in this process the costume must be mobile, functional, fully subordinate to the body. On the other hand, the routine process leaves the possibility and desire to 'listen' to the environment and to yourself. Thus, there is a moment of contemplation and physical contact with space. At this moment the costume begins to form the moment of resistance and insubordination to the body, since from the auxiliary form it turns into a reflective form.

One of the hidden moments is textiles for the act of "washing the floor", where one surface is a simple piece of cotton, the second is a silk. Probably, this is the most symbolic moment during the performance - the way in which daily life crystallizes into the sacrality and crystal clearness of the moment. That border of transitivity of the daily and scenic transit, which is erased in the space of performance.  

To find that balance I made the costume that can open up layer by layer during rotation, which contributes to an increase in balance, balance and a feeling of full body support. The costume exists in several states: from flight to landing.

The refusal to fix the costume on a person's body gave the dancers a feeling of “partnership”. The absence of “familiar elements” led to the perception of the form through personal analysis, personal acquaintance. Each new day the choreography revealed new moments of storytelling through the moment of arrival, and not through the moment of presentation and the demonstration. We walked along a thin line, where each element was self-sufficient and separated from each other. We have created communication in space, where each element depends on each other, where the visual aspect has faded into the background by letting the sensory open to the full extent.

 I also use organza - its transparency is important to me. Transparency as the sound of lightness, as a reflection of the form of reality through the prism of our own perception, through our own dialogues with our own reflections and reflections of ourselves in the surrounding space. 


Camera: Veronika Krebs

Model: Kyuja Bae