Kathleen Irwin (![[info]](http://l-stat.livejournal.com/img/userinfo.gif){kind=small} kirwin) wrote,@ 2006-06-08 09:24:00 |
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Sites and Scenography
Sites and Scenography: This photo almost moves me to tears. It was taken by pushing a tiny digital camera through the cracked and broken wall of an abondoned brick firing kiln at The Claybank Brick Plant. This site is where a group of artists (under the direction of Knowhere Productions) is currently devising a multidisciplinary, site-specific performance on September 2nd, 2006. This image, made up of a collection of discarded customized brick forms, odd bits of machinery, lit by the camera flash and the one beam of daylight from the central ventilation hole at the top of the kiln is completely and wonderfully theatrical. In fact, the entire site is pure magic. Shifting light and clouds cast shadows and ceate patterns that no lighting designer could replicate. In decay, the site is beautiful: an early 20th century industrial plant, once an ugly scar on the pristine rolling prairies, is beautiful again as it relaxs back into the landsape. Its beauty reaffirms what I think I know about site-specific practice - that places, replete with memories and bracketed by performance generate meaning profoundly, subjectively and relentlessly.
Sites and Scenography: This photo almost moves me to tears. It was taken by pushing a tiny digital camera through the cracked and broken wall of an abondoned brick firing kiln at The Claybank Brick Plant. This site is where a group of artists (under the direction of Knowhere Productions) is currently devising a multidisciplinary, site-specific performance on September 2nd, 2006. This image, made up of a collection of discarded customized brick forms, odd bits of machinery, lit by the camera flash and the one beam of daylight from the central ventilation hole at the top of the kiln is completely and wonderfully theatrical. In fact, the entire site is pure magic. Shifting light and clouds cast shadows and ceate patterns that no lighting designer could replicate. In decay, the site is beautiful: an early 20th century industrial plant, once an ugly scar on the pristine rolling prairies, is beautiful again as it relaxs back into the landsape. Its beauty reaffirms what I think I know about site-specific practice - that places, replete with memories and bracketed by performance generate meaning profoundly, subjectively and relentlessly.
