This work is composed in rather traditional way, consisting of introduction, main narrative and conclusion. It is based on superposition of three interdependent channels: video, poetic text and music.
While filming the video I aimed at localizing few small areas in the garden to reveal peculiarities of each of them and to make it a self-sustained space with unclear boundaries. I also tried to eliminate timeframes by means of making what is happening as uniform and uneventful as possible. In the last sequence, however, all these separate spaces are brought together as different apparitions of the single protagonist are disappearing with appearance of a child.
The poem behind the work was created during filming. It consists of 13 fragments on the same theme. Read offscreen, every fragment is marked by the sound of a deep breath in its beginning.
Some last passages of Lacrimosa from Mozart's Requiem are used in the work. This channel bears its own logic of developing that is mirroring the sequence of protagonist’s appearances: the tune is heard in its entirety in the very beginning and then is repeated by the pianist in decomposed way. I had asked the musician to play every note separately stretching the piece of music out to fit the duration of the film.
The issue of interaction between text and visual media is crucial for videopoetry. Each level of the present work – music, poetry, picture, action - has its own rhythm. Whenever a new element is introduced at any level (a new note in music, a breath before a new piece of poetry, a new location), other levels are suspended for a while. This sequence of pauses forms the general rhythm of the entire work. These pauses keep audience’s attention and emphasize particular moments urging a spectator to focus on them. Moreover, this principle corresponds to the topical keynote of the video: “whenever something new emerges, everything around is being frozen, listening, anticipating the death”.