K Samka

Faces / Words / Images
Autumn 2020, between two confinements...

"I often wonder, what being a woman of the stage means ? What is the sense of introducing oneself that way, as I do sometimes in my biographies ? To be a woman of the stage is probably to watch the world with a certain look, a certain grammar in eyes, in mind, in heart. It's to see stage worthiness in any place it appears, not only in a theatre - a bath put in the middle of a field, a lonely woman who cries on a bench, with a brass band tune on the back... It's also to give rise to this theatricality, to call it to unexpected places. To be a woman of the stage, it's to be as sensitive to the invisible as to the obvious, to the link between the things, the words, the objects, the bodies, the beings. It's to activate, vibrate them, in echo, to know how to play them and to do everything in one's power to ensure that something else, new, unknown, something alive will appear. To be a woman of the stage means to feed on all other artistic subjects and to go to meet them. Dance and music are for a long time parts of my theatrical vocabulary. Here, for the first time, I go to meet photography."
Nathalie Fillon

Faces, or the time of the gaze
At the origin of the project
Desire to meet the other, through the simplest, the barest of him - his face, and most unknown of himself.
Desire to search what only words could say, what only pictures could tell.
Desire to provoke every art in its specificity, in order to make them cross and scrape like flint.
Desire to create multiple meetings, inviting different artists, creating partnerships with various venues, theatres, museums, associations...
Desire to discover how rich and different the contemporary writings are.
Desire of a plastic, flexible project, of diverse sizes and temporalities, a project I could endlessly reinvent in variations differently, according to the spaces and places, conversing with every partner.

A woman writer / a woman photographer
At the time of the selfies, snapshots and reflex photos by a telephone, we are not taking anymore - or so rarely - time to describe with words what meets our eyes. And sometimes taking a photo too quickly prevents us from looking, from seeing. As for the words, by dint of not using them precisely, we miss some of them, they escape us.
In the project Faces, the idea is to give us again the time of the gaze, the time of the meeting, of the picture, of the writing. The point is to give the face, again, all its depth, all its surface, with the multiple fictions which are in it.

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