Face On - The Wait #4 In Figure This the figure was brought closer to the viewer through her physical acts of ‘doing’ and her suspended periods of ‘not doing’ opening up the possibility for a shared space. Face On explores the notion of shared space further by inviting the viewer to experience a subliminal state of intimacy as the figure ontologically connects to a sequence of changing situations. Imbedded in this state of intimacy the figure comes face to face with the implications of performing, of being observed and observing, of exposing the mechanisms and dealing with the consequences. A filmic sense of the theatrical stage is adopted for Face On. The objects - a table and two monitors are placed in the form of line at the back of the space. From this somewhat safe stand point the figure is able to observe the viewers as much as they observe her. When she decides to, she walks directly forward down the centre line of the space creating a sense of filmic close-up, getting bigger as she moves away from the objects that remains in the back ground. Her walk is confident and she comes daringly close to the audience only to be pulled back up stage by a continuous repetitive motion that move her backwards. Her gaze however remains with the viewer and she cannot see where she is going. She can only sense when she is close to the objects and manages to slip past them back into the comfortable position behind the table. But this does not last long as she is compelled to meet the audience face on and so begins her ordeal forward and back with changing sequences of movement that weave through her body and pull her through space. Face On explores the minute as a body of time.The sound score changes as each minute passes. The piece is divided into 3 sections of 20 minutes - the first section sees the figure harnessing a level calm and control as she chooses when to walk forward, the second section sees her driven forward and back by the changes in the sound-score and the third section sees her abandon the rigours of the forward and back motion as she eventually washes over the whole of the space and parts company. Holding these minutes together is the ambient quality of the video installation, which explores the hour in the form of one continuous take lasting the full 60 minutes. The camera follows the figure within a room as she is waiting for someone to appear. The camera is hand held and yet has a quiet presence. The figure is quite unaware that she is being filmed despite the camera depicting a closeness, capturing intimate details of her expression. The videos are screened on two monitors. The films on each monitor are the same but one is screened as the mirror image of the other, which adds to the filmic perspective of the performance space. Mirroring and reflection are also key within the films composition. The camera follows the figure via her reflection through a mirror creating a subtle tension between the actual and the various filters with which we observe ourselves and the world. Toward the end of the piece the camera pans away from the figure, and away from the mirror, across a white wall. This panning action also occurs across the two monitors. As the camera arrives back at the figure the mirror is no longer present and the figures activity has been fully transferred onto one monitor. We get a sense (albeit from out-with the frame) that the person she has been waiting for has now arrived as she becomes engaged in conversation and there is laughter. Slowly the figure makes her way toward the mirror (through which she was previously filmed) where she is then seen to be observing her own reflection, and in doing so creates a split screen effect encapsulating the idea of two monitors into one, her gaze, however, for the first time directly meets the camera lens. Her eyes penetrating through the camera, the filmmaker and directly through to her audience present. Concept/Choreography/Performance Anna Krzystek Original Sound-Score Tom Murray Video Daniela de Paulis, Anna Krzystek, Tim Nunn (editing) Photography Tim Nunn Commissioned by New Territories International Co-produced as part of the Open Latitudes network in co-operation with partners in Lille, Brussels, Warsaw, Lausanne and Mons funded by the European Commission EACEA, Education, Audio-visual and Culture Executive Agency culture programme Funding and support from Creative Scotland, The Work Room, Dance Base, The Nightingale, Tramway, Catalyst Dance Management and Oblivia Premiere New Territories International, Tramway, Glasgow 2011 Subsequent performances Les Halles, Brussels 2012, Open Latitudes Festival, Lille 2012, CCN Grenoble 2013, as part of a mini retrospective of The Wait Series for Dance International Glasgow 2015 and as part of the Pioneers Of Performance Tour across Scotland - Beacon Arts Centre, Greenock, Traverse Theatre, Edinburgh, Lochgelly Centre, Fife, Lemon Tree, Aberdeen, MacRobert Arts Centre, Stirling, SEALL, Skye and Druimfin (Comar), Tobermory 2015