Audio Transcribed

Blank Flesh is part of a transformation process, right? I have five previous solo works: the first was Blackout, the second Hurts – Tales from Distant Places, the third Hurts – Fish Never Sleep, the fourth Hurts – Resonance, and lastly The Flying Ox. All of these solos and works have a narrative-driven aesthetic, a storytelling approach, almost like a modern way of structuring performances. 

But Blank Flesh comes to break away from that structure, to produce a body that creates its narratives within the territory. This body occupies space, and through the way it moves, it tells a story—one that emerges from sensory experiences, deeply connected to the musical composition, which serves as an essential foundation for this work. 

At 47 years old, I feel this urge to let the body flow freely within the space, without needing to focus on telling a linear story. On a more subjective level, Blank Flesh seeks to work with the idea of forgetting in order to uncover something new. It’s as if, in this piece, I am fully attuned to each movement I produce, aiming to generate a frequency strong enough to provoke this forgetting—allowing for the construction of something unprecedented within the body. 

That is the intention behind Blank Flesh at this moment: to create events and encounters between the body, the soundscape, and the space it inhabits. 

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