Intended as a documentation of Polish artist and theatre-maker Tadeusz Kantor’s “informal painting”, Mieczysław Waśkowski’s film develops a hectic experimental life of its own. The gestural application of paint is staged on changing spatial levels by means of glass plates, camera movements and lighting, making not the painter but the abstract form-finding the movie star.
Soft clouds of light rotate, fan out and change colour: With his cosmic “Luxograms”, Pawłowski radically rethinks the Lumières’ serpentine dance and dematerialises the moving body. It exists neither on a real stage nor in the shape of a real dancer but solely in the projection with a sophisticated system of optical lenses.
