A state of ambiguous non-conformity
Initially regarded as vulgar due to its cheap availability, chintz has come to represent the kitsch, the domestic, but also the beautiful. CHINTZ explores notions of imprecise interpretation and value.
Transposed onto the articulate bodies of dancers, and parallel with Australia's burgeoning queer diversity, CHINTZ offers subjects that are equivocal in gender and motive: subjects who obviate irony, and refute the reductive, ubiquitous tropes or predominant reference points of camp. Intimate and sinister, they are neither serious, nor subjects of ridicule.
Maximilian and Tatjana Plitt's recent collaborations began as explorations on contemporary gender undercurrents. Their photographic essays also provide a survey of key figures emerging within Australian contemporary dance.
Melbourne-based dancer/choreographers Geoffrey Watson, Milo Hyde and James Andrews are caught in a domestic entanglement simultaneously kitsch, quietly unnerving, hypnotic, and pretty.
The images typically place the performers in heightened domestic scenarios, where purpose is alluded to, but never explained... scenarios inviting speculation as to what may be occurring within the scene - and why. Transposing these ideas onto the articulate bodies of dancers permits physical relationships between themselves and their environments that seem inherently plausible, yet uncommon.
CHINTZ is a series of medium-scale, digitally-printed photographic portraits utilising textiles, dance and performance to describe a state of ambiguous non-conformity.
Photo: Maximilian/Tatjana Plitt