When working in Oblivia the amount of the elements sometimes exceeds my scope. When trying to focus on what is essential, it seems like there is often something clear and sharp in the middle but also a lot of beautiful blur on the edges.
It happens that I find it tricky to depict the relevance of the different aspects of the work in comparison with each other. There is always a manifold mixture of qualities and elements that could lead to two or even three different kinds of performances. Different practices and approaches inside the group lead the work to crossroads where many roads seem worth taking. Therefore it is not always so easy to envision the structure for the performances and announce what is the most important thing for the whole. In the blur is the material and the ideas that are difficult to prioritize.
In collective work the content of the performance needs to be rediscovered in relation to the new ideas and motions of the artistic process. Occasionally it can get blurry. It can feel like there would be several strings attached to the performance and all of them were gently pulled to different directions at the same time. But it also keeps the work really alive and it frees me up from trying to end up with somehow optimal performance. Rather, the plurality of the work takes care that the outcome is likely to take me by surprise. Adopting the diversity of the practices and material to the work can lead to unexpected combinations and matching mismatches. Thanks to the blur, many beautiful discoveries can be hatched without the demand for immediate clarity or coherence. Blur is good. It holds the space for hues and glimpses that exceed my scope but can be detected by the collective.
