When Diana sent me these colour comparisons for the next film in our Comparisons Project, the first image that came to my mind when looking at them was that of a lamp being chiselled away by two women like a sculpture. By the time they finish, they realise what they are sculpting, or chipping away, is the body itself. I think part of the reason why I had this response is because Diana's pairings bring out an almost modernist perspective and fixation with the dissolution and fragmentation of the body. This is a totally different response to the one I initially had to the film when I first reviewed it. And yet, it makes so much sense; the film really is, in a way, all about the dissolution of the body and identity. I really think Diana has a special gift in bringing out the latent subtext of images.
The poem I wrote in response to her pairings is only a small fragment itself of what I had in mind. I don't pretend that it's any good - in fact, I know it isn't. I like it more as an idea, a starting point for a more developed piece of fiction, than as a finished piece. I think I'm slowly realising that the process of writing involves letting go of ego - that I have to be able to send out work into the world that I may not actually be happy with in order to allow certain pieces to develop. This is why I find this project with Diana so thrilling, because it helps to provide me with the impetus and ideas for such pieces.
All images are by Diana from Miss Moss, created using stills from Jordan Scott's Cracks (2009) and the paintings of Moise Kisling. All words are by me, Hila Shachar.
Paintings from top to bottom: Untitled (1922) by Moise Kisling; Les enfants du Docteur Tas, Louis et Zoucha (1930) by Moise Kisling; Portrait de femme (date unknown) by Moise Kisling; Ofelia (date unknown) by Moise Kisling; Nu couché dans les feuillages (1918) by Moise Kisling; Les Mains (date unknown) by Moise Kisling; Tulips (date unknown) by Moise Kisling; Untitled (date unknown) by Moise Kisling; l'Attente (1917) by Moise Kisling; Eve (date unknown) by Moise Kisling; La naufragée (1927) by Moise Kisling.