My research started with a french article, from a beginning of the twentieth  century magazine, Point du Vue - images du monde, about cats and their unconscious choice of space that would have the better air, light and warm place in a house.

  I began to wonder what my comfortable space/place was, as a person that has changed house more than twenty times, lived in different cities and now was in a foreign country. This curiosity was not only related to me personally but also as a creator/performer in the Dance world, my position as an artist, the feeling of belonging or not, the eternal questioning about what we do as performers, where we place our work.

We try constantly to fit in, to construct, decorate, “push in” our comfortable zones; we adapt ourselves, our way of standing, sitting, talking, eating, so we can obtain a sense of belonging. During the research I wondered if I would be able to construct a place of comfort and if so, what would be the physicality of my body. Would it adapt, would it change according to the places? Or moving in a specific way would create a place of comfort by its own? What would be that movement?

The movement material presented in the video arose from simple actions made in the places of the research. Questions about the physical effort related to the task its limitations, not only caused by the place but also by external circunstances made me realize that my focus while doing those actions drove me to a complete abstract alienation, a total separation from the rest, outside/parallel actions weren’t important anymore, “(…) the art is not one of forgetting but letting go. And when everything else is gone, you can be rich in loss.” (Solnit 2006:22).

The boilers door of Michaelis Dance Studio with a small cat’s hole, is a non-place (Augé 1995:75) , no one pays any attention or cares for it; it turned out to be the perfect place to have a little artist with this choreographic material.

Going somewhere using a different path can also permit the person to experience an unusual feeling and perception and prepare him/her “Travel […] constructs a fictional relationship between gaze and landscape.” (Augé 1995:86), to alter the focus, the curiosity is increased.

There was a big challenge from the beginning: being able to transform Michaelis Studio with its huge windows and wide clear space in a place of comfort; I was only one and my A4 transparencies were very insignificant in the vast space. ; I was only one and my A4 transparencies were very insignificant in the vast space.

André Lepecki (2006:66) in the chapter Toppling dance – the making of space in Trisha Brown and La Ribot describes “Pollock’s actions on the toppled canvas were equivalent to a territorialization”, as a masculine mode of working and presenting; my work is not about gender, the decision of having the public viewing the photographs from above and in vertical perspective was with the intention of letting the space to be conquered, the public territorialized the performatic space.

Disappearing in the space as the artist, walking next to the transparencies, listening to ever evolving study of Avishai Cohen Trio made me recovered the physical traces of my three months'     research “(…) dance must be slowed down – a way of decelerating the blind and totalitarian impetus of the kinetic – representational machine.” (Lepecki 2006:58); a continuous action that offers the viewer the possibility of disregarding me or not, a ‘disappearing/reappearing act. “From the start, photographers not only set themselves the task of recording a disappearing world but were so employed by those hastening its disappearance.” (Sontag 1978:76), the artist reappeared when the space was marked with tape, a little stage, hence I could take photographs making the moment endure into the void.