The scene is shrouded in black, white, and shades of grey. A play of perception unfolds as light interacts with shadow, reflection, and the theatre’s architecture—becoming characters in a hypnotic, mind-bending performance. With interpretation left to the audience, the work becomes a meditation on how we see, perceive, and shape our experience, both individually and collectively.

Four percussionists enter the stage, playing Kruip’s tuned sculptures through a ritual language of call and response, echo and repetition—virtuously flirting with the limits of audibility and returning us to the spiritual origins of the performance space. While each spectator embarks on a deeply personal journey, the experience is shared—an invitation to resist polarisation, to embrace multiple perspectives.

In her work, Germaine Kruip merges visual art, architecture, and music in absorbing explorations of perception, sound, and performance. Ten years after A Possibility of an Abstraction (Kunstenfestivaldesarts 2016), she presents a sequel in which the machinery of theatre becomes a musical instrument. By ritualising the theatre space as a place of wonder, she invites the audience to explore—alone and together—a world of infinite possibilities. It is a journey for the senses and a love letter to the magic of theatre.