Rabbit

This is an animation from Run Wrake that I recently fell in love with at Short and Sweet. Enjoy!

Sacred monsters

Last night I could feel only two things: clear happiness and a the strange pride of being human. The potential of the human mind and body suddenly dawned on me again as I watched Sylvie Guillem and Akham Khan unwind on stage at Sadler's Wells. 'Sacred Monsters' is possibly the most appropriate title for this piece. With its minimalist scenography, stunning musical accompaniment, and the dancers' elegance, 'Sacred Monsters' was one of the most exceptional pieces of contemporary dance I have ever seen. Despite being very casual, the performance echoed everything contemporary dance should be about: beauty, athletics, and above all, the expression of the human soul and creativity.

Sylvie's fleeting innocence and striking technique contrasted and complemented Akhan's strenght and sophistication in their common struggle between conforming to traditional forms of dance and the journey into the contemporary expressive dance form. The dancing varied from aggression and internal conflict to surprising humour and tenderness. The weight of Akham's choices and Sylvie's worries of futility in dance were perfectly balanced with sparks of humour and the striking ease between the dancers. Beautiful, inspiring, or as Sylvie pointed out, simply 'merveilleuse'.

In sickness

Horrors have long been an element of the film industry and despite being able to appreciate the old classics, I cannot quite comprehend why people give so much attention and spend so much money to see all the modern trash horrors that are being produced. There almost seems to have emerged a whole new genre of horror cinematography, which produces horrors with not just the classical thrill, but also with sickly sex and unentertaining violence. The bad acting and predictable plots draw even more questions about this genre's popularity, but maybe this is a sphere in which we just don't seek high-brow stimuli? Could it be that in our uber-comfortable castle lives drive us to seek out more basic experiences and emotions that we can no longer find much of in our modern lives? Horrors, both old and modern thrive on one of our most basic emotions like fear and disgust.


In principle, I have nothing but a pause of 'wonder' for these films - after all we should all be able to watch whatever we want so long as no one gets hurt on the way. What does disturb me though is the common perception that it is perfectly okay to play trailers for these films. I realise that this is fiction and yet another genre of cinema, but I am time and again disturbed by sitting squased between film viewers chewing on their popcorn and having really unpleasant images thrown in my face.

Bending spaces

I have recently come across a wave of artists who have created something of an art form that is a fusion between illusion, graffiti, and architecture. Georges Rousse, Felice Varini, and Julian Beever are some of the most prominent illusionists in the sphere of anamorphic art. They create illusions of objects by painting in interiors, on streets, and pavements. The illusions are visible only from specific angles and disappear if they are distorted.

The Cat with Hands

I do apologise for not having much real written content lately, but my final year deadlines are catching up with me! Perhaps at the end of it all I'll finally be an educated woman!

Here's a piece from the lastest Short&Sweet:

What brand are you, love?

People watching can be good fun, but recently I find the brand parade in London a little obscene. I keep seeing the boys and the girls, the hot mums, the Shoreditch kids, and naturally the Posh-wannabes, all wearing sunglasses possibly worth more than their outfits. Being at the Borough Market every week, I keep seeing more and more frames, both shades and the classic variety, with big thick brand initials on the sides. Is this a bit off as far as style exhibition is concerned or am I the only non-shades-extravaganza follower in town?

Just another day in London