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The term Krasis originates from ancient Greek: the action of mixing or blending two or more things. For this performance, we were inspired by the writings of the philosopher E. Coccia (La vie des plantes. Une métaphysique du mélange, Emanuele Coccia, published by Payot & Rivages, Paris, 2016). For us, this image entails a vision for the contemporary world that seems attentive to its nature and to its complex movements, as well as a potential for an acceptable, or, even more, a desirable future.

A moment suspended between the rational and the irrational, nature and technology, reality and fantasy. These notions are not in dichotomy ; they intertwine and live together, hybridize and eliminate any possibility of our bodies isolating from each other. New spaces emerge; protruding thoughts, perceptions unheard of before. Different natures mixing, implicit modes of communication, revealing what we could not have foreseen, creating infinite, unpredictable, dizzying, accidental, sudden, paradoxical, magnificent, striking connections. Simultaneously, here and on the other side, a clamour for being in a sensational or in a sensitive voice. Everything is connected. A common living background is woven out of multiple
points of view.

Each artist is working in a different media, but playing is interactive.Their actions control variations in both medias. The result is a sandbox, allowing them to create, explore and play with materials in real time, in front of the audience.

I composed the visuals for KRASIS in several stages. The first one is drawing. I used hand drawing on an iPad to create textures and contours for visual materials. I also did several photography sessions in order to obtain more raw visual material. The next stage is the development of more complex scenes, by combining and shaping these materials, mixing, moving and deforming, resulting in a series of still images. The third stage is recreating these scenes in 3D.

For KRASIS, I am trying to express things like depth, closeness and distance, through filters, strong contrasts, dynamic nuances and sudden fractures in the sound mass that can give way to tenuous filaments. The orchestral dimension reinforces the notion of sidereal space.