The movement of this piece is from a virtual universe, from which it emerges, towards reality, the reality, that is, of an electronic image. Sánchez presents the specular relation between two dancers in three different locations of a seaside town. Apart from in this video, these are gravitationally unbalanced actions, physically impossible movements. Perceptions, visual mechanisms and tricks that allow for the development of spaces of an intuited gravity, where both limits and orientations are blurred.
Out of the sea interface emerges a woman, who rises and rests on a dike (sound of electronic connections). She touches the wooden floor, through which she drags herself. The gravitational orientation of this world is not yet clear. Over a background of urban echoes, she dances before her reflection and that of others, exploring her image, within a space filled with distorting mirrors. The observation of the environment is self-referential in as much as it refers her back to her own self, as a kind of mirror. Thus, neither her nor her observation are possible without their alterity. Suddenly, from her head emerges another, her deformed reflection becomes real and assumes its own autonomy. Both figures, distorted in the orientations of their movements, end up bearing the limits of two mirror planes. In a third space, a blue wall with its own gravity, like a line of force separating wood from sky, the two figures dance (one in red, the other in blue). Red tries to trespass blue, and blue avoids it every time. That which precedes the escape provokes in blue a state of alert. Red passes on to the other side. The different sequences of ambiguous spaces consummate this continuous surmounting of limits: blue line, sea, intuited town and mirror, decompose in rectangular shots, giving in to an electronic reality to which they are chained.
Beyond the creation of avatars, as in Blank e_motive
, these real, albeit identity-less, presences, react emotionally. Even though the figure in this piece assumes her reflection, as an individual, she nevertheless tries to differentiate herself from her other. Both figures’ acts are instanced by the desire to survive, to exist, even if as amnesic fragments. Her redoubling, operated by the articulation of the returned gaze, seems to surge from that imposed obsession to find a trustworthy reality system, as in “Catalepsia”. They cannot perceive the structure that contains them, they can only intuit it through their movements, which they establish as yet another property of their particular urban environment. Because, beyond the screen there is a decomposed reality caused by those same ones who generate the illusion.