To start with, one should dwell on the instrinsic and implacable depth of the intellectual interpretation which conveys a possibility to interpret visions - visions which are flowing out, vibrating, searching for new means of expression and finding the forms, a continuously varied mental exercise between sound and image, between shape and no-shape, between the being and the not-being.
Images become sounds, sounds become images, the thought is carried out in a playful and yet dynamically fundamental way which all melts together into a visual experience that provokes, penetrates and leads further into a compelling stream of neorelativistic theories.
We are carried through a keyhole of graphic attacks into a universe where the one theory of an undeniable division in lines and points is joining, amalgamating and infiltrating the other perspective of a more floating existance with less rigid frontiers - and one is carried away, beyond ones transitory life routine to an apoplexy of new horizons and other values, where the atoms are both splitting and colliding in a faster rythm and their existance during their short orbit mainly should be seen as a twodimensional tendency to be and not to be at the same time, and place.
Then, let us see it like this: through this intense explosion, the horizons of the performance are opening to a staccato experience in colour, form and sonority, where the colour becomes form and the form becomes colour, where every experience finds its orgasm in its antithesis and every antithesis is a synthesis in itself.
One is oscillating between a postulate life philosophy in its most linear form and a crushing realization about the punctual level of perception of the contemporary human being: a poetic, yet abrupt transposition from one key to another, from one dimension to another, from a rectangle to a trapezoÔd and from there to a circle and a transformed spiral. Everything becomes a constant mutation without Alpha or Omega - the sensation is at the same time transparent and transitive.
The performance is executed through our leaving one level to discover another and suddenly being flung into a virtuoso abstraction of an earthling moment (second): a rotating but nevertheless motionless interpretation of a caleidoscopic perception plantation.
The absurdity is transformed to the certainty of the newly born, its madness prompting us through a minimal sequence of images, resulting in an equilibristic foreplay to an introspection. A global battle which through its inverted and double featured force directs us to a liberation from the human boardingschool of our mind.

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©  Teresa Wennberg  1978


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