the breath is in tune with the vibration of strings of the instrument.Another aspect is the pure perception of sound and its impact on the body. Since childhood I felt how sounds translate into a kind of internal vibration of organs (viscera). Even without hearing, the sound vibrations can be felt through the skeleton. I know Evelyn Glennie, an excellent drummer, who is deaf. I also often dream of string vibrations and similar things which I can feel physically. In Variation this translation occurs literally. The body is tightly pressed by the lid of the instrument against the strings in the resonator. Vibrating by the movements and the pressures exerted by my body, the piano strings influence in turn the way of my moving inside the instrument, which translates into the intensity of playing and emitted sounds. I perform “forest walks” with instruments. Here, the way of moving reflects nature’s movements. In Rise Moon (2015) the instrument guides me, serves as a kind of tentacle, a body extension enabling the exploration of the environment. To look
where the eye cannot reach. When I am approaching the tree bark with a PVC pipe and I am “blowing” the sounds in it, it is in fact the tree that determines the trajectory and the rate of my movements, it is both nature and instrument. Then, as a kind of an anteater, I am creating with microbes a concert on macro and micro-entities. The energy is sucked in and out, it’s circulating. It’s astonishing, how instruments taken out from the urban culture may, in their resonance, literally in their vibrating, belong to the primal world of nature. I collect instruments, and apparently, each new one initiates a consecutive entry into nature. Moon is also an instrument, it is a Turkish drum called “daff”. A striking work of seemingly improvisational form, Variation on Black is in fact a highly layered film, open to several different readings. What are you hoping your work will trigger in the audience? Without any doubt, Variation is a very personal work. During a recent directing