Christos Papadopoulos’ work is deceivingly simple; informed by a persistent research on rhythmic nuances of movement. His tireless exploration of repetition transforms movement to a state and generates multiple layers of meaning and rare perceptive experiences. The human body can become a metaphor of abstract qualities like “time” or “life” or even suggest natural phenomena like the flow of water, the erosion of the ground or the fading of light at sunset. He focuses on the changing volume of details that builds up from a kinetic pattern allowing the eye and the mind to wander, sometimes separately, through the inexhaustible qualities of human experience.

In LARSEN C aspires to introduce ambiguous elements with liminal qualities in order to energize and ignite new experiences. His constant perception of movement as a method of exploring reality is pushed further without additions or spectacular elements. He is simply exploring further the state of transition; from one movement to another, from an intuition to an action. He asks himself whether a slight difference in a familiar rhythm, a trivial alteration of corporal movement, or even a minor set, sound or light shift can change completely our perception of what we see, and thus challenge our perceptual biases.

In relation to this the choreographer recalls his experience of listening to music while driving his car in the woods: Depending on the type of music, from classical to Greek traditional music, his impression of the scenery around him was changing. By mixing sensations, memories and outer physical stimuli, something as ordinary as a drive through the woods can easily be transformed into something extraordinary. These “mind games” could indicate that there is no fixed standpoint from which we can observe the world.

Christos Papadopoulos’ work is informed by persistent preoccupations; rhythmic nuances of the body, collectiveness on stage not only as a way to think of movement within the realm of choreography but also as a tool to reflect upon broader natural phenomena. Indeed, his choreographic ideas stem from a phenomenological perspective, placing the body at the heart of every research; theatrical elements, such as set design and costumes are reduced to the minimum, leaving sound and lighting to suggest minor variations in the duration of a piece. His view is frequently demanding the persistence of our gaze, the reinterpretation of our way to perceive dance or even the “greater” image.