A performer roams freely in the theatre with a head-set mic, vocally re-describing objects in the space to the audience. Black-box walls, speakers, cords, lights, back-stage, fire-extinguishers all begin to warp as their use and function are exaggerated and distorted. A live sound score of crackles and pops
extend from the performer's mouth, as the audience's vision distorts, even with eyes open.


Playing between speed, light and dark, focus and blur, ‘Slow Glow’ uses logic and paradoxes from over- and long-exposure photography. Both techniques make time arrive differently, and greatly increase the drama and psychology of how things appear.



Is it possible to create a dance while also destroying it? Is it possible to capture a period of time beyond what we can see with our vision? Is it possible to make an over-exposed dance: dance over dancing?