The Eye Which We Do Not Have

Inspired by the thrillers of Alfred Hitchcock and the critical discussion of cinema by GIlles Deleuze,

The Eye Which We Do Not Have uses a set of 6 frames and 8 screens with a pulley system to create a transforming stagespace that transitions from small to large, vertical to horizontal, and static to mobile.

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I have seen and heard tell of people making puppets out of unusual items. But I have neither seen nor heard tell of anyone recognizing quite as Brehm does that the totality of the stage phenomenon is a puppet, that every instant and dram of the stage’s innards is a puppet.

Daniel Maidman, Huff Post

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The formal experience of a transforming stage suggests a transforming viewpoint like that of a camera in motion. Incorporating close-ups, long shots, pan and zoom, The Eye Which We Do Not Have uses a cinematic visual language to deterritorialize its imagery, creating affect, mood, and suspense with live puppetry.

The Eye Which We Do Not Have is an eerie, yet powerful psychological tale about suppressed female desire. It incorporates bunraku-style puppetry, toy theater, rod puppets, and a transforming set.

A beautiful 19th century doll suffers from a bout of hysteria brought on by an illicit affair. Her hysteria is reflected in the structures of her house as she climbs the stairway to the scene of the crime over and over again.