Project 'Synthesis'
About forms, lines and feelings.
Lora Bergen:
Taэt Vremya creations inspired me on this project.
With indescribable help from artists: Taэt Vremya, Viktoria Kim, Taya Reshetnik and Vladislav Milushkin—we put it into life.
The main idea was to show the world how we saw music through our own perception.
We moved this way: dancers chose music and conveyed their emotions and mood through the dance.
In my turn, I captured that moment on 35 mm film.
After all the photos were ready, I send them together with the music to visual artists and they made their beautiful art.
It was very interesting experience of collaboration.
Thank you:
Taэt Vremya
Viktoria Kim
Taya Reshetnik
Vladislav Milushkin
and my friend Anastasiya Kresik.
About forms, lines and feelings.
Lora Bergen:
Taэt Vremya creations inspired me on this project.
With indescribable help from artists: Taэt Vremya, Viktoria Kim, Taya Reshetnik and Vladislav Milushkin—we put it into life.
The main idea was to show the world how we saw music through our own perception.
We moved this way: dancers chose music and conveyed their emotions and mood through the dance.
In my turn, I captured that moment on 35 mm film.
After all the photos were ready, I send them together with the music to visual artists and they made their beautiful art.
It was very interesting experience of collaboration.
Thank you:
Taэt Vremya
Viktoria Kim
Taya Reshetnik
Vladislav Milushkin
and my friend Anastasiya Kresik.
Viktoria Kim:
I tried to keep the experience that a photographer and the dancers already had. I mostly focused on work with shape.
I played with the conjunctions of parts of the photos and this way created motions which are unlikely to exist. Listening to music and looking at the photos I imagined how each dance could be described. I came up with a thought that the space around the dancer is significant and it defines the lines of body. That's why I kept so much white space in my works.
By juxtaposing some text pieces and photos I wanted to create a contradiction between images and letters, words and dance, verbal and non-verbal communications.
I tried to keep the experience that a photographer and the dancers already had. I mostly focused on work with shape.
I played with the conjunctions of parts of the photos and this way created motions which are unlikely to exist. Listening to music and looking at the photos I imagined how each dance could be described. I came up with a thought that the space around the dancer is significant and it defines the lines of body. That's why I kept so much white space in my works.
By juxtaposing some text pieces and photos I wanted to create a contradiction between images and letters, words and dance, verbal and non-verbal communications.
Taya Reshetnik:
The same way as deconstruction is a way of understanding the relationship between text and meaning—collage is aiming to do the same but through visual means.
The intricate, but at the same time intriguing part about this serie, is its starting point—the black and white photographs capturing an unstable moment during the dance performance, influencing the uncertain direction from its very beginning. The dance itself is influenced by another ever changing media–music, at least our perception of it is never fixed. It is creating a chain reaction of unstable events influencing each other.
My contribution—the final step. I broke the ‘chain’ into separate elements and chose those, which felt necessary for the particular collage: contraforma, draping fabric, skin texture, tension in the muscle. I put them back together in a different manner. It is my take on reflecting on the whole process. Perhaps looking at these elements in a rearrangement and a new context will give a new insight
The same way as deconstruction is a way of understanding the relationship between text and meaning—collage is aiming to do the same but through visual means.
The intricate, but at the same time intriguing part about this serie, is its starting point—the black and white photographs capturing an unstable moment during the dance performance, influencing the uncertain direction from its very beginning. The dance itself is influenced by another ever changing media–music, at least our perception of it is never fixed. It is creating a chain reaction of unstable events influencing each other.
My contribution—the final step. I broke the ‘chain’ into separate elements and chose those, which felt necessary for the particular collage: contraforma, draping fabric, skin texture, tension in the muscle. I put them back together in a different manner. It is my take on reflecting on the whole process. Perhaps looking at these elements in a rearrangement and a new context will give a new insight
Vladislav Milushkin:
First of all, I tried to make a synesthetic metaphor of chosen by each dancer music, so the viewer could in some way understand the mood and the rhythm of each song without listening to it.
Also I tried to continue dancers’ movements like if they wouldn’t have any body or imagination limits during their dance.
In general I tried to make a personal portrait of each dancer using their movements and feeling of music, not their faces.
First of all, I tried to make a synesthetic metaphor of chosen by each dancer music, so the viewer could in some way understand the mood and the rhythm of each song without listening to it.
Also I tried to continue dancers’ movements like if they wouldn’t have any body or imagination limits during their dance.
In general I tried to make a personal portrait of each dancer using their movements and feeling of music, not their faces.
