More or Less Concrete

Innovative, collaborative, inspiring, visceral and hypnotic, More or Less Concrete could be interpreted as a work about the nature of different and changing forms of concrete - however it is much more than that. 

The piece opens with a mysteriously lit (Ben Shaw) enigmatic and exotic intertwined tableau of dancers Sophia Cowen, Tim Darbyshire and Matthew Day. The three are almost completely clad in synthetic, hooded, protective overalls as designed by Rebecca Agnew.  Moving initially slowly and intensely then often vigorously and repetitively they create many suggestive, perplexing, ambiguous yet strangely satisfying images. Their bodies are contorted and connected or separate, often in close relationship to the floor, in a combination of ways that suggest marine life, animals, insects and any number of images and realities depending on imaginative speculation and interpretation.

As spectator wearing earphones there is a sense of big hermetically sealed in the hazy blue half-light as a kind of voyeur of discomforting anomalies. It is particularly fascinating to watch the human flesh of hands as the only exposed body parts. Generally, I think it is true to say, movement in this work is not dependent on sound but rather sound is generated and extended from movement and impressions by sound designer Jem Savage.

More or Less Concreteis a highly refined, challenging and at times discomforting asymmetrical work of art.  Like an abstract painting it requires individual effort from each audience member to engage, interpret and endow with meaning to be experienced as a satisfying whole.  It is a unique experience and well worth the effort.

Suzanne Sandow