“Releasing the Apsara from Stone: Studying the Body as Temple. Part III”
< STORY >
Basically we marked two spaces, one of reality (with webcam) and the other of fantasy (projection). There are three characters: Melissa plays a temple dancer and Michael her court musician. Together, they are the fantasy of an ancient past that my character obsesses about. I might be a naked sadhu in my artist studio trying to get close to this fantasy. Our fantasy world is the section of the scrim with the projection. Melissa responds to my projected fantasy quite literally by viewing the projection (of me). I draw her obsessively – it becomes unclear whether she is actually responding to my drawings or determining my drawings. I am so obsessed I realize I might be able to contain her in my body as her temple. Over time we begin to break the invisible boundaries, namely the physically invisible lateral one between her space and mine. When I trespass into her space unwittingly, she is expelled from her Paradise and sees the starkness of my world in reality. She is disoriented and runs in the darkness. I am in wonder, chasing her on the scrim. Ultimately, after confronting me, she graciously offers me her space for a moment in time. It is here that I begin to accept the idiosycracies I developed chasing my fantasy for so long. We can never be physically in the same world for very long – kind of like how I am when I go see my grandmother in India, but those memories affect me deeply profoundly, shaping my fantasies. This might be a story of a girl who creates her identity based on fantasy. This might be a story of the woman she becomes when she comes into her own skin. This might be a story of the woman who still houses her girlhood fantasies in the temple that is her body.