"'Submergence', work by the Squidsoup collective, will be the only indoor piece in all of the [Mexico City] 2015 VAW festival, envisioned for a closed space. Like the name of the piece suggests, 'Submergence' proposes the audience to be immersed, inviting to stroll through it, which in an interactive process produces changes in the intensity of the lights, colors and sound expressions. With a narrative path composed of 4 parts of approximately 5 minutes each, an abstract story slowly takes shape with great poetic weight and added to the mutations that the audience contributes with their movements. The transition through subtle atmospheres introduces us to a magical and unreal world. Beyond the multiple meanings the spectator can perceive in free interaction with 'Submergence', the experience is key in itself, the possibilities this piece offers to perceive and enjoy all the senses at once."
(Museo Jumex)
"Historical expert Jo Teeuwisse, from Amsterdam, began the project after finding 300 old negatives at a flea market in her home city depicting familiar places in a very different context. She researched the background to each of the most interesting finds and created a beautiful series of pictures by super–imposing the old pictures on top of new ones.
Now she has rediscovered photographs of soldiers at war in France and across Europe and put together further sets of evocative and emotional designs."
(Emma Reynolds, 18 October 2012, DailyMail)
"Origamibiro is a collaboration between myself and musicians, performers and producers Tom Hill and Andy Tytherleigh. Tom and I have a long history of collaboration through av_dv [Jim Boxall/Jon Gillie], Wauvenfold [Noel Murphy/Tom Hill] and Penfold Plum [Tom Hill]. After creating the first Origamibiro album 'Cracked Mirrors and Stopped Clocks', Tom wanted to find unorthodox ways to produce intimate live music based on generated loops without the audience barrier of laptop screens. Tom's music had a high level of emotional intensity that I felt a real affinity with and wanted to replicate through my visuals. I also wanted to further explore our live setup and find ways to show what we are doing and how we are doing it, as we are doing it. Early on in this process we enlisted the multi instrumentalist skills of Andy Tytherleigh. Andy immediately multiplied layers of melody and atmosphere in the set to create a wider and more beautiful sound."
(Jim Boxall)
"La lumière brillante et surnaturelle qui avait dominé toute la scène du château (flamme des chandeliers, feu, reflets étincelants de l'argenterie) s'estompe pour laisser la place à la lumière naturelle du jour [plan 9] [9]. Ces rayons lumineux rappellent ceux des dernières gravures de la Belle au vois dormant. D'autant plus que cette lumière naturelle n'est pas légitimée par la présence d'une fenêtre, comme c'est le cas chez Doré. C'est une lumière naturelle, la lumière du jour, mais elle semble toujours éclairer le personnage de manière surnaturelle : comment la lumière extérieure peut–elle pénétrer à l'intérieur sans la présence d'aucune fenêtre ? Les flambeaux s'éteignent un à un, le personnage traverse un grand pan de lumière blanche, la porte se referme toute seule, l'escalier apparaît en plongée : la scène semble se rejouer à l'envers, ce qui souligne la structure circulaire et la clôture de la séquence, mais aussi l'influence de l'œuvre de Gustave Doré. Le dialogue des contes et des illustrations se poursuit jusqu'à la dernière image de la séquence puisqu'elle se termine sur les ronces qui envahissent l'escalier du château de la Bête, comme celles qui envahissent les gravures du château de la Belle au bois dormant."
(Estelle Plaisant Soler, 26 juin 2006)
Fig.1 Jean Cocteau (1946). "la Belle et la Bête"
2). PDF of 100 Cult Films (Screen Guides).
"In 1851–1852 John Everett Millais painted a canvas that would become his most famous work: Ophelia. This compelling picture of the tragic heroine of Shakespeare's Hamlet, floating in the water, has inspired artists for generations. Striking parallels to Millais's oeuvre are to be found in the work of contemporary photographers, such as Rineke Dijkstra, Hellen van Meene, Inez van Lamsweerde & Vinoodh Matadin. The influence of Ophelia is noticeable in the models' vacant expressions, the hushed atmosphere of the compositions and the alienating surroundings. ...
Ophelia is also referred to in film and pop music. For instance, Nick Cave and Kylie Minogue based their music video where the wild roses grow on the painting by Millais. Another example is the cover picture of PJ Harvey's album To bring you my love."
(Van Gogh Museum)
Fig.1 Nick Cave and Kylie Minogue (1996). "Where the Wild Roses Grow".
Fig.2 PJ Harvey (1995). "Down By The Water".
Fig.3 John Everett Millais (1851–52). "Ophelia".