As isolated practices through which influences transform, art and movement are rooted in the dialogues they seek to communicate. But, when approached as a hybrid artform, their parallels become more distinct, capable of translating feeling and complex thought processes through their interactions.

- Charlotte Dauphin

- Marie-Agnès Gillot

In short film Barre, French filmmaker Charlotte Dauphin considers sculpture and dance as semiotic devices, capturing the performance of prima ballerina Marie-Agnès Gillot as she engages with a sculpture. Against stark surroundings, the choreography offers a direct response to the art piece’s emotional depth and ability to mirror the human psyche, its imposing form initiating a visceral reaction, communicated as dance.

- Charlotte Dauphin

- Marie-Agnès Gillot

Not limiting the body to physical shapes and gestures, tempo and repetition, Gillot personifies the sculpture’s sentiment with ‘dramatized’ choreography, liberating her feelings through movement. Set to the atmospheric music of French producer Mirwais, a new vocabulary emerges where dance, theatre, film and sculpture converge, investigating sign systems and their various forms by deconstructing the boundaries between disciplines.