Fernando Brito: „Sink Part II/III“
SINK (Part II)
Sink (Part II) departs from a primal gesture, in which humans join both hands to collect water, like an improvised water tank. It is presented as the first human gesture of accumulation,which triggered the process of imitation of Nature and extension (and loss) of gesture, through the purpose of infinite accumulation.
The industrial sink-hole is presented with double meaning: on the one hand, as an attempt of imitation of the primal gesture, an engineering of the human body, and also as an archetype of the well or shaft, which is inseparably linked to the idea of abyss. This is the journey that is proposed in this installation: from the primal gesture of survival and accumulation, through the process of his techno/industrial extension, and his consequent loss as an autonomous human gesture.
SINK (Part III)
The image of a lagoon in the savanna, during the dry season; where predators and preys meet in order to drink, it’s a moment full of tension, where survival instinct and animality are present with all his intensity. This is the idea that triggers the third part of the installation Sink.
The narrative on this short movie, departs from that lagoon in the savanna which we will transpose to the plot as “our” pool, which not only represents the absurd and useless accumulation, but also the spot where “predators” and “preys meet at a party, in order to act in a play where artificiality and animality merge and become out of control. The character’s gestures and behaviors thus turn into choreography of absurdity, where our animality is revealed by the deconstruction of our camouflage and disguise, which leads to a final act of estrangement. When does the representation begin and when does it end? Would be camouflage our natural state of behavior, a concealment of our animality or a sign of collective schizophrenia in face of the possibility of our extinction?