The front stairs of the Reichstag provided another opportunity to confront the issue of light and shadow on a folded form. The digitized quality that results from the ebb and flow of cast shadows over surface and void; reducing the human form to pure information. The poetic quality of this reduction is one of architecture's great offerings to humankind: an awareness of ourselves and our connection to our environment. The daily interactions produced through the nearly sexual threesome of light, movement, and form is not to be taken as a given, accepted without reverence. Under this type of analysis, the stairs and lighting are not part of a set, they are also performers, maybe the makers of performance. While Annabelle, Sina, and the others provided the only conscious movements, the angle and intensity of the lighting, its multiplicity, projected a secondary performer - the shadow. Engaged in an eternal dance, the shadow holds onto the stairs tightly, professing its form. A continuous exchange of information that resulted in the video you have just watched.
The two performers who were aware of this video's making were surrounded by pedestrian users of the stairs, who contributed equally.
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