Suski speaks about STOFF experience

Parts of Life – Stockholm

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Laughter

Trains

Huge breakfasts

Piles of thread and stuff everywhere

Colors

Movement

Fragments

But first back to the beginning.

The Concept


I was thrilled with the project from the get go. I find the ways we connect and relate to the world

around us and each other endlessly fascinating.

But the subject at hand is also a vast one. Experiences of life are very often abstract in the end and

subjected to the individual realities that we each carry within ourselves. And the stuff I am most

interested in at the moment is related to the emotional and experiential rather than anything that has a

concrete and physical form.

From the beginning I saw this project as puzzle. A fragmented tale of life, enlightening parts of it. And

this was the quality I wanted to materialize. So I was, and still am puzzled, on how to grasp at least some

of it. That some parts of life will become visible through the clothing. So eventually I turned to knits.

Huge loopy threads and different materialities depicting stuff, the thread of life, so to speak.

Stockholm – STOFF

As a costume designer, I tend to use every possible chance I get, to try out any ideas I have regarding the

costumes rather than going straight for the final “product” so to say. So STOFF was the perfect

opportunity to do a test run of the idea. There was a performance, a stage surrounding and a

soundscape. So a somewhat cohesive environment for me to see if, how and what would work. And

even though I was still lacking the information to have the essence of the costumes – the ideas,

emotions and personalities I hope they will represent – I could test the material aesthetics and qualities I

was looking for, in a performative setting.

But even more, STOFF or rather the whole trip to Stockholm was beneficial in a way that hadn’t

occurred to me before. Luckily I have group of dancers to work with and dress that are willing to use

themselves as individuals as a starting point for the costumes. To play with their characteristics, enhance

and contradict what I and what they themselves see in them. And then connect that to the aesthetics of

the performance as a whole.

In Stockholm I found myself working with a group of people who worked together for a long time.

People that know each other really well and are comfortable around another. And thus also act in a way

that is very real. So often I found myself just observing, watching and listening to them, learning about

their qualities. Qualities that I hope will eventually find their way into the threads and costumes.

-Suski

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