The day after the premiere the images which are the start of the play, the piano in an empty space. The two invited artists who reacted to the very first Piano Etude piano light, were the Dutch artists Popel Coumou and the Brazilian Rafael Godoy. They didn’t know each other, but from now on their work is connected with this Etude. It affects each other in different ways.
Popel Coumou has a special way of working. Once I asked her to make a three-dimensional image based on a two-dimensional image, and then from this transformation, in which something new has happened, to start again with a two-dimensional image. Together with this vision, already present in her but still hidden, provided an escape from the realism of photography, entering a new area. A form in which she composes her images, with all the means she possesses: photographical, pictorial, and spaceful. The simple image she created from this Piano Etude is suggestive and rich in its emptiness, in its flat shapes, suggesting depth. A stretched out white path – or is it light? – The shifting of light on the background and the grand piano positioned there. It seems to be a small elephant, touchingly small. Or is it a spot in the distance always becoming bigger in the Piano Etudes?
At the piano Rafael Gody seems to come closer, Grand piano and the piano, they are lengthened, horizontal and vertical, with the same keyboard in within reach. They each play differently in the Etudes.
His path of light is a split in the image, a curtain and a membrane in front of the eyes, through which the images are just appearing. The tear is sensual and has the touch of the hand and is both physical and fleeting. All ingredients for the theatre are present and will work in the Piano Etudes, brought to life and inspired by two actresses and two pianists, more about them later.
image: Popel Coumou, 2014
image: Rafael Godoy, 2014