POSTCARD IMAGES
It is always a joy to create postcard images for the performances. In collaboration with the designers or by myself, I discover another way of embodying the world of the piece. In this section, I'd like to share how we came up with the image for each performance.
Contributing designers are:
Rie Fukui (Paraffin 2010, Kawatokawa, Remains of Shadow)
Sydney Pink (Paraffin 2009)
Tzveta Kasabova (What we see why we see 2012)
Taylor Kurtz (Twilight Station 2015)
Tatsuya Aoyagi (Communitas 2002-3)
Andy Hayleck (Plasmic Patterns 2013)
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Communitas (2002)
This was the postcard for my first ensemble piece. I wanted to feature all the performers in the image, so we used one of the photos taken from a performance and modified it to reflect the atmosphere and mood of the piece. This is the final scene where all the characters appeared and approached the central character who had gone thorough a journey. -
Plasmic Pattens (2013)
Andy Hayleck carefully chose two contrasting colors of yarn threads to make this image. Stage environment was designed by these yarn threads and thick plexiglass pieces. The idea to use them as the central material in the performance came early in our nine-month process. 'We started with sculpting environments. We didn't want to talk about performance. We read newspapers. We talked. Slowly, things came out of those talks. We wanted to explore this space; we arrived at a point where we wanted to play with vertical and horizontal dimensions of space. -
Dream Island (2015)
One day the performers and I took an outdoor trip and took many photos with various obscure objects and landscape as the back drop. The color of this painted board and lines drawn on it somehow really matched the sense of this piece. A 'homemade' feel of the image was important for me. During this photo shoot, we made many new discoveries about the piece. -
Paraffin (2009)
Sydney Pink, who had studied art in Japan, volunteered to create a design for the premiere production of "Paraffin". I tried to explain the piece which got us nowhere. After a couple of futile attempts, he decided to come to see the rehearsal and participate in my workshop to 'experience' what I was trying to convey. The lines around the central figure gave such rich texture which evoked many associations.