Graphics Reference
In-Depth Information
4
Recurring Images
Bodily transformation is probably my most common obsession (Petros Papadopoulos).
I tend to use l at imagery somewhere in most of my work. It is a satisfying mix of techniques
and a statement of the artii cial nature of illusion. I enjoy contriving to trick the audience,
playing with scale and illusion. The i rst i lm, on Super 8 mm, was a clunky piece of irony.
Near my l at was a huge advertising hoarding hosting a picture of a i eld of dazzling yellow
sunl owers. With the opening frame of my i lm composed within the poster itself, and the
fortunate l y-past of a bird, this could have been a sunny afternoon in the countryside, until
the camera pulled back revealing that the poster was in the bleakest part of Moss Side, then
a frightening place. Hardly breaking new cinematic ground, the irony of playing with real and
fake has stayed with me. Most of my stage sets have been quite l at with graphic imagery;
characters burst forth from numerous hidden doors. I do not like, or am not capable of
designing architecturally accurate sets, and I prefer to i nd an apt image that comments on the
piece rather than creating a literal space. I see being literal as some sort of curse.
I designed Alan Ayckbourn's Communicating Doors , which is set in three time periods at the
same time and occupying the same space. Some productions become bogged down with
literally presenting the dif erent periods on stage, but it seemed to me that Ayckbourn was
 
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