Theoretically, Moss&Mould is the third part of V.-Nightmares, a piece in four parts evoking the seasons based on Vivaldi’s concertos.
When the polyptych is presented in its entirety, it is spring that first proclaims itself with Fluid Mechanics, in which nature and the human body alike find themselves in a state of effervescence. This is followed by Tan, smouldering summer, and Moss&Mold, autumn’s decay, and ultimately ICE culminates the seasonal trajectory with winter’s deadly bite and agony.
For this large-scale production, Thierry Smits intentionally plunges into the world of multimedia performance-installations, intensifying his use of screens, projections, lighting, sound and props on stage, as diverse as they are unexpected, but which all punctuate a certain idea of the seasons in all their metaphorical potential with human life that is born, flourishes, withers and dies.
Moss&Mould is imbued with a keen awareness of decay and organic disintegration, its rhythm reminiscent of a macabre ritual observed from afar. A text by Caroline Lamarche, suggesting hunting scenes and a profound sense of dereliction, accompanies the ceremony while still-life images, evocative of autumn, scroll across the screen.