Candy’s Camouflage is based on the practice of autocorpography, a self-embodiment that is as much self-surveying and -definition as it is self-publication. The dark shadows of the real bodies mix with the decolourised, silver tinted images cast onto the background wall. A dark eroticism is at play in this piece, a form of libidinal autonomy: Three human bodies, bathed in cool light, relating themselves to one another.

To grasp yourself always also means to draw up a portrait of yourself. The Imploding Portraits Inevitable-Series, begun with Liquid Loft’s productions Shiny, Shiny… and False Colored Eyes, changes its shape with Candy’s Camouflage. It provides projections of the feminine, subjecting stereotypes and brittle clichés to a series of stress tests. Above all, it explores surfaces: the outer layer of people, the skin, as well as the fabrics one can use to cover, to cloak it.

The Imploding Portraits Inevitable-Series was inspired by the earlier film works of Andy Warhol, especially the use of the split-screen in Chelsea Girls. In Candy’s Camouflage the colorful frenzy of the previous pieces dissolves into the black and white of Film Noir. What remains are the tools of camouflage and deception, which provide the possibility to create a new self again and again. Constant change, here, is the fundamental principle, mutation’s the game. 

In all the performances, the handheld cameras and spotlights are manipulated by the performers live on stage, creating a live image on screen. 

Photo: Chris Haring, Loizen Bauer