A disembodied dancer is rendered as a moving hand-drawn sketch – and that sketch moves in a projected 3D space that can seem so close as to let the viewer reach out and touch it. Though the work’s imagery comes entirely from a comput er simulation, it bears an unmistakable human trace – that of dancer Bill T. Jones, abstracted from his physical body via a process of optical motion capture that preserves his movement but not his likeness.
After Ghostcatching, a re-envisioning of Ghostcatching (1999), is built up from a larger sam pling of the motions and vocalizations of Bill T. Jones. It explores the themes of disembodiment and identity with the new possibilities opened up by 3D projection and a custom 3D.