Labyrinth, two conjoined installation concertos, commissioned by VisionIntoArt and the Krannert Center for the Performing Arts, tightly incorporates sound, lighting design, and projected visuals, with the musicians’ performance through the use of the K-Bow, (a sensor bow developed by Keith McMillan that can wirelessly transmit detailed real-time information to a computer) and LED technology. The work can be done as a site specific installation, and as a theatrical work directed by Michael McQuilken.
House of Solitude is presented in a simple hologram-like setting on stage, creating a three-dimensional snapshot of the solo performer’s thoughts, including solitude, extreme communication and the subsequent lack of connectivity, and the search for the lesser known sides of one’s self. The sound world is created from everyday sounds: a drum set made from the hiss of a washing machine, the beats from an EKG, and finally the human voice. Images of bodies appear—those of humans, other life forms, and hybrids—and Kordas’ artwork follows their journey through the four elements as they become part of the man’s life story. The imagery gradually dissolves into the forces of nature and fluid shapes of dreams take on a life of their own. They contort, grow, fuse, and age, reminding us of where life originates and the unknown dimension to which we are headed. The man’s journey through the labyrinth of his mind is represented by a solitary house. The bodies symbolize human connection from which he is offered a path of escape. House of Solitude ends with the man leaving on an unknown road.
Room No. 35 unifies the virtuosic cello performance of Maya Beiser, the intricate and vivid visual worlds of Erika Harrsch (with video design by Brad Peterson), and an orchestra of cellos woven into a unique tapestry of sound by Paola Prestini. Led by Anais Nin’s seminal novella, The House of Incest, this production maps hidden cravings of the heart, traverses shadowy recesses of the mind, and seeks to unify the tangential impulses of the human spirit. Room No. 35 invites its audience into a tranquil dream, a fading remembrance of a hotel room submerged in water and surrounded by gaping eyes. Then, over the course of 30 minutes, this room folds back upon itself until tranquility blossoms into a tidal wave of bright light and ecstatic sound and then collapses back to the mouth of a calm sea once again. Through the cello, enhanced by LED paneling, a direct relationship of the musician and her instrument reveals itself as an intimate exposition to the audience. This duality reveals the labyrinth. Visually, the work combines paintings, drawings, photography and three dimensional elements, video animation, and the creation of a visual living installation. The music contains an interactive component specific to the LED cello developed with Meric Adriansen and eDream. Finally, the installation concerto creates a larger labyrinth with the symbolic use of advanced technology to depict intimate human turbulence and need for control.