We are a group of 4 manipulators
très très très
Piryokopi is now creating très très très, a four-man graphic manipulation show using a wide array of geometrical objects (balls, cigar boxes, batons, buugengs, hoops, etc). It mixes object manipulation with “graphic” hip hop dance, both of which share a common visual language. The show will also, through touches of self-deprication, question a human’s tendency towards obsession and fixation.
The objects are moved and manipulated in space to trace ephemeral drawings, trajectories, dynamics and mecanisms. The public is presented with an impactful visual language which the characters use to communicate moods and atmospheres.
The four characters live for their objects and their movement. Their social relationship is determined by the degree of their obsession, causing phases of extreme individual meticulousness or shared graphical elation. The objects resonate with the body’s movements, be they dancing or static, flexible or rigid, and with each person’s personality and touch of madness.
Object manipulation is a form of communication between the characters, but also a way to escape and isolate oneself. The public is invited to dive into an aesthetically expressive and poetic ambiance, meticulously constructed by four object manipulators whose passion brings them dangerously close to obsession.
Graphism is the art of drawing shapes and pictures within the framework of a shared language. Graphic manipulation is the ‘drawing’ of patterns in space by the body and the object. The object (malleable or otherwise) can take many different forms depending on how it stands in relation to the body. This body becomes an extension of the object, and vice versa, giving it shape, mass and a dynamic that influences its movements and motions. Here, I use the term “body-object” to describe this fusion between the artist (body) and the object.
The movements of the body-object build shapes and paths. These visual circuits are traced in the three dimensions of the stage and in time. Here, we see analogies with “la jonglerie cubique”. In the middle of the 90s, so-called “cubic juggling” aimed to integrate the juggler and his objects into the three dimensions of the stage. This approach to juggling and manipulation exploits the space around the artist using the specific physical characteristics and dynamics of the body-object.
Graphic manipulation takes the ideas behind cubic juggling a step further. Each gesture is designed to emphasize and offer meaning to the movements traced in space. The intention of the artist behind the ‘drawing’ lays the foundation for communicating with the viewer and is a pre-requisite to the graphic element of manipulation. This intention is expressed via the lines and shapes that the body-object writes in space. Like all writing, this line must be readable for the audience. If it is ‘calculated’ by the transmitter-artist and ‘interpreted’ by the receiver-audience, then there is genuine communication between them.