The suggestion cames from an article I wrote about Ohad Naharin and his Gaga method. The vision of his choreography gave me excitement, like an emotional language of strength and fluidity, of choruses and intimacy, of beauty and rage. Since I was too old to join the Batsheva Ensemble, but above all I'm not able to dance, I tried to translate this great impact with my competences.
It's a project about the constrictive role of women in our society, constantly confined to roles and constantly forced to prove their strenght. At the same time, it wants to portray the inner force of female body and emotionality, through an emotional tension that becomes physical.
WARNING: The following video contains scenes with flashing lights so it could potentially trigger seizures for people with photosensitive epilepsy.
Some of the movements of this video are based on Iyar Elezra, Nitzan Ressler, Zina Zinchenko, Maayan Sheinfeld, Adi Zlatin, Hsin-Yi Hsiang, Xanthe van Opstal, Fanny Sage, Simone Schmidt, Althea Corlett, Stephanie Troyak, Olga Sokolova, Eila Valls, Juliette Scalabre-Buffard, Carmen Perfetto, Mirta Boschetti. Single video footages are credited and linked on Vimeo description.
For this project I've mixed different techniques, blending traditional animation, glitch and procedural art.
The animation is a mix between linewoks and rotoscoping painting frame by frame. I've used different procedural codes [on Processing and VVVV] and masked them in the composition. On this base, I've glitched several frames in many ways. Mainly using the sonification method, but also hex databending and datamoshing.
An astounding visual feast of colours and movement, Martino Prendini's An Exit employs animation and dance as powerful commentary on the constrictive roles of women within society and a portrayal of the inherent force of female physicality and emotionality. Directors Notes - read the interview