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 4 screens with a pulley system to create a transforming stagespace that transitions from small to large, vertical to horizontal, and static to mobile.
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
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.
A beautiful 19th century doll suffers from a bout of hysteria brought on by her illicit affair with a mysterious man. Her hysteria is reflected in the structures of her house as she climbs the stairway to the scene of her crime over and over again.
- Dixon Place Puppet Blok November 2009
- Dixon Place Puppet Blok February 2011
- Standard Toykraft June 2012
- Workshop Production MAY 24TH - JUNE 1, 2013 at Standard Toykraft, Brooklyn
- Wall of Windows Performing Installation. Governor’s Island Art Fair 2012.