HermiH
HermiH draws out a world not too far from our own, a world in which the maternal, as a power in its own right is damned, as a result of which all else has fallen out of balance including humanity’s relationship to the erotic, manipulated in order to assert control. Against this stands a visceral resistance. The film was made using sections from a forthcoming novel of the same name as a score for the performers, acting as provocation, invocation and invitation for movement.
Disembodied hands emerge, and reach into a body alone in the dark. The city’s water falls. Bodies move into and across the other’s currents, questioning and dominating, merging and holding. Comedy lances tragedy, and the feminine principle is stolen away. Is there any milk left to give ? And ultimately who is who? Humans bloom and fade as love burns up into shadow.
The film was made by Lewis, with herself and Cattrall performing, joined by Archie Redford.
Hair, The Obscure…
This work employs Oscar Wilde’s Salomé as a conceptual and textual foundation, serving as a critical axis through which to interrogate and transcend contemporary societal constructs. By recontextualizing the narrative within a framework informed by ancestral epistemologies, the piece seeks to recover and reassert a primordial understanding of the Earth as the original site of erotic power. In doing so, it engages with notions of desire, embodiment, and power that challenge anthropocentric and modernist paradigms, proposing a reorientation toward a more elemental and ecocentric ontology. During this residency Lewis and Lindsay found shared territory in their work which culminated in Lindsay becoming one of the performers in Lewis’s film. Their work together will continue. Lewis is also in production with four actors making a longer iteration of the above.