What was the inspiration to create Chameleon?
As with many of my works, there are a lot of different interests intersecting each other. My main inspiration came from the desire to frame the formal and visual qualities of specific movement material by using the camera, in a very precise way.
The movement material came from my stage solo Chameleon and I started to continue developing it during the first lockdown while filming myself with my webcam. By hyper-focusing and zooming in on it, I saw a potential to alienate the body an create ambiguous and visceral images, beyond what I was able to do on stage.
This is your second dance film, after Le Faune. What do you enjoy in creating dance on camera?
To open up a new dimension or universe through and on the body by being able to choose how I frame it. It’s a recurring theme for both films.
Since I also do most of the editing, I enjoy it as an artistic research process, too.
In this digital age and with the restrictions from the pandemic, what is the importance of dance films for the dance scene? Do they help fill the gap of social distancing between artists and audience?
I think it’s a genre on its own that can create another kind of intimacy with the audience, by being able to get so close to the skin. It’s obviously getting a boost right now and that’s a good thing, but I don’t think it can replace a live performance.
What can the audience expect from watching Chameleon?
First of all, I would recommend to watch the film in a calm and relaxed state with a good sound system, a screen as big as possible and in a setting as dark as possible.
The audience can expect to get a physical experience from watching the film.
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Zondag 25 april, 16.00 uur
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