non-circus subjects come across with a touch of the disproportion
and spectacle that come with the big top. She seeks to create
individuals, combining expressive human faces with animal touches
in costume and posture as commentary on the human condition, and
humanity versus instinct. With a background in textile design, she
sees it as crucial to communicate through color and texture in
support of the general image, and she uses methods of scratching
and sanding to tell of tragedy, contradiction, and irony in her pieces.
These are great inspiration for anyone writing a circus tale, or one
in the vein of Phantom of the Opera - something sweeping,
something dark and melancholy.
"Ladies and gentlemen," she calls.
Her voice fills the air. It feels as if the tent grows to accommodate
the words, the circle of benches pushing out and out, the tinny
Panadrome swelling to an orchestra, the light softening and curling
around the shadows, until all at once you find you are perched in a
tiny wooden seat above a vast and glorious stage.
- Genevieve Valentine, Mechanique: A Tale of the Circus Tresaulti
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