A desire first imagined, then declared and finally wounded.
A woman wakes up after a nightmare and, still trapped in the sensations the dream has left inside her, begins to paint.
The gesture grows more and more instinctive. Her hand dances across the canvas, the colour drips down the surface until a word emerges: FREEDOM. It is the materialisation of her deepest desire.
But something changes. Looking at what she has created, the woman no longer seems able to recognise herself in that desire. She takes a knife and cuts the canvas, turning an act of creation into an act of destruction.
The cut formally recalls Lucio Fontana's gesture but transforms its meaning: it is not an opening towards a new dimension of space, but a wound, a loss, a renunciation of freedom.
Dripping explores the conflict between the desire to be free and the possibility of giving up one's own freedom.
Painting, body and movement become part of a single performative action. Colour turns an inner impulse into matter; the word FREEDOM gives it a form; the final cut destroys it.
The canvas thus becomes more than a support: it is the physical place where a desire is first imagined, then declared and finally wounded.
The reference to the Spatialist gesture is overturned. Where Fontana's cut went beyond the surface to open it towards a further space, in Dripping the cut does not open.
It leaves a wound.
The people behind every frame.
01Cast01names
- PerformerAna Karina Cano
02Credits05credits
- Concept & DirectionFrank Zanella
- Director of PhotographyDinesh Chandra
- 1st Assistant CameraAbylay Otezhan
- 2nd Assistant CameraTeni Oduntan
- Dolly GripAigerim Zhagozina