The dream follows the mouth

2017, 11 minutes

A series of sculptural movements are activated by performers within the architecture of the Swiss Church in London

In the video-installation The Dream Follows the Mouth we come across two intertwined sculptural movements that, as they unfold, overlap figure and background through dance and humming. Consisting of a projection in the foreground, and in the background, a behind-the scenes populated with objects, the jux­taposition of the two creates a plot from a series of small performative actions enacted by a group of women. The choreographer, or perhaps we should consider her a “puppeteer”, slowly and methodically reconstructs a modular scenography. The gestures inevitably provoke a kind of mimetic behaviour in the three dancers that make up the chorus, the “puppets”. Similarly to classical Greek theatre where the chorus responded to the main character, the dancers move about somewhat mechanically, as if sleepwalking, hit a wooden construction, rotate blown-glass sculptures and hum to themselves or play the melody of Siboney on the strings of a classical organ

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