Simple Infinity successfully combines three art forms to create an enchanting and genuine experience that encourages us to look again.
We begin by engaging with the work of artist and designer David Hawkes, who has created both a large-scale installation and performance space. Taking its cue from the infinity sign, Hawkes invites the audience to take a seat in one half of the design, looking onto the shadowed performance space, closed to view but for a one metre gap at the join of the two curves. Into the darkened gap walks performer Yeow Cheng Moy, who signs a passage of free verse.
Hawkes’ creation encourages us to consider how we apprehend such a space – light or dark, positive or negative, constant or interrupted – and to appreciate that the person next to us holds a completely different view. Similarly, the presence of Cheng Moy brings to the fore the realisation that we all perceive the world through a different language.
The cleverness of Hawke’s installation is ultimately revealed when the two wings of the closed curve are pulled back to reveal the stage; the audience is now encircled and enclosed in a place of play.
Already on stage are the string quartet (composer Liberty Kerr, Eleanore Vuong, Hamish Gullick and Alastair Duff-Forbes), who remain an atmospheric constant throughout the performance. Kerr’s original music is playful, profound and quite musical. Called upon at regular intervals to accompany the action, the quartet are at one part and apart – engaged with the other characters but also omnipotent.
The final layer of art is applied by the performers: Cheng Moy, Vicki Van Hout and Luke Waterlow. All their performances are genuine and delightful. Van Hout is mesmerising. You can see the relish in her eyes as she enacts a character who is the epitome of ephemeral. Waterlow’s casual, almost detached delivery actually works to draw attention to the text, and his coconut wrangling skills are tremendous. Cheng Moy is immensely watchable, if occasionally a little nervous.
The text, devised by Cheng Moy, Van Hout, Waterlow and director Rosie Dennis, is funny and approachable, despite dealing with hugely philosophical concepts. Dennis has managed to maintain a ‘theatre as art’ quality throughout the piece, without putting the audience at odds with the action.
Simple Infinity challenges you to consider how you yourself view art – do you try to make meaning from everything you see or simply allow it to generate an emotional response? What is interesting about this piece, however, is that unlike modern visual art or dance, the textual element of this collaboration gives you the clues to put this viewpoint into words. The characters postulate about colour theory, the definition of wonder, and what it means to simply stand still. In each of their perspectives the audience is provided an alternate paradigm with which to analyse themselves. It is deep thinking delivered in a beautifully simple package.
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Simple Infinity is at Carriageworks, Eveleigh until 16 July. For more information, click here.
The reviewer attended the performance on July 14, 2016.
Photo credit – Daniel Boud
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