Betwixt

As two windows come down (farewell, On the Verge Festival in Obus and Collected Works, you were great), a vitrine of collages and drawings for Betwixt fleshes out its form, as part of the forthcoming Czech and Slovak Film Festival of Australia.

(In addition to our part in Betwixt, we will also be conducting a kids' workshop inspired by The Seven Ravens.)

A twin entity! A double life, sprung “from matter and light, envinced in solid and shade,”[1] our Salvaged Relatives, collaged and drawn, toss gauzy film over the certainty of your consciousness.

A shadow, rendered, of a life imagined; or is that the other way around? In a game of Chicken and Egg, call and response, surely, the drawings echo the collages on cartes de visite. And were they to be “separated from one another by the whole length of the building… [the] distance between [them would] seem monstrous… as is they had taken half [their] bodies away. [They would lose their] sense of balance… feel dizzy… fall.”[2]

Creeping through these unknown time-eaten spaces, memories splinter; with nature as your theatrical backcloth, you’d do well to borrow a stained costume from the Ballet Russe, while things reconfigure.

My tail, Léon Bakst, what do I do with it in this lonely place “newly with grass o’ergrown”?[3]

[1] Edgar Allan Poe, ‘Silence (a sonnet),’ version published in The Raven and Other Poems, 1845
[2] Ágota Kristóf, The Notebook Trilogy, (Melbourne: Text Publishing, 2016), p.23
[3] Edgar Allan Poe, ‘Silence (a sonnet)’