WE SLIPPED THROUGH OUR FINGERS

“We slipped through our fingers” traces the arc of an interpersonal relationship: from a first encounter, through shared lightness and passion, to violent conflict and a final farewell. The hand is the central image throughout, as a site of contact, complicity, and coercion.
The performer plays a purpose-built table instrument: a transparent acrylic sheet mounted on a frame, amplified by contact microphones, with a screen embedded beneath its surface projecting silhouettes of hands and human figures. The performer strikes directly over these images. A camera overhead captures the interaction in real time and relays it to a screen visible to the audience, the only source of light on an otherwise completely dark stage.
One body is present on stage. A second exists only within the projected world: hands that mirror, approach, and eventually meet the performer’s own. This asymmetry between physical and digital presence is the dramaturgical core of the piece. As the work unfolds, the virtual figure gradually withdraws into its own choreographic language, growing more distant until the final section, where all electronics fall silent. The performer is left caressing the acrylic surface, drawing the faintest friction sounds from it, until the image cuts to black and the stage returns to darkness.