GREYG
With this new project,BREATHE, Greyg wanted to work on the loss of meaning and identity of Man.
Under the pretext of progress, humanity has altered itsenvironment to the point of making it a threat to its own survival. The simple act of breathing becomes difficult unless you resort to an artifact, thegas mask, a fatal symbol of our condition.
Therein lies the tragic irony of this process: this mask, supposed to help us to breathe, is the fruit of human production, which is itself responsible for oursuffocation, thus bearing on its contours the imprint of our voluntary asphyxiation. We are under the influence of these technologies and condemned to a morbid dependence to preserve our survival in an increasingly hostile environment.
Putting on this mask, we rediscover the very essence of our breathing, but at the cost of losing ouridentify. We have become beings with erased features, anonymous behind a uniform mask, perpetuating a masquerade that denies our humanity. In this absurd theatre, we play the role of strange puppets, suspended between the anguish ofasphyxiation and the nothingness of our own existence.
With "RESPIRE", Greyg aspires to raise awareness and awaken minds.
RESPIRE
With this new project,BREATHE, Greyg wanted to work on the loss of meaning and identity of Man.
Under the pretext of progress, humanity has altered itsenvironment to the point of making it a threat to its own survival. The simple act of breathing becomes difficult unless you resort to an artifact, thegas mask, a fatal symbol of our condition.
Therein lies the tragic irony of this process: this mask, supposed to help us to breathe, is the fruit of human production, which is itself responsible for oursuffocation, thus bearing on its contours the imprint of our voluntary asphyxiation. We are under the influence of these technologies and condemned to a morbid dependence to preserve our survival in an increasingly hostile environment.
Putting on this mask, we rediscover the very essence of our breathing, but at the cost of losing ouridentify. We have become beings with erased features, anonymous behind a uniform mask, perpetuating a masquerade that denies our humanity. In this absurd theatre, we play the role of strange puppets, suspended between the anguish ofasphyxiation and the nothingness of our own existence.
With "RESPIRE", Greyg aspires to raise awareness and awaken minds.
Albert Camus, Le Mythe de Sisyphe
With this new project,BREATHE, Greyg wanted to work on the loss of meaning and identity of Man.
Under the pretext of progress, humanity has altered itsenvironment to the point of making it a threat to its own survival. The simple act of breathing becomes difficult unless you resort to an artifact, thegas mask, a fatal symbol of our condition.
Therein lies the tragic irony of this process: this mask, supposed to help us to breathe, is the fruit of human production, which is itself responsible for oursuffocation, thus bearing on its contours the imprint of our voluntary asphyxiation. We are under the influence of these technologies and condemned to a morbid dependence to preserve our survival in an increasingly hostile environment.
Putting on this mask, we rediscover the very essence of our breathing, but at the cost of losing ouridentify. We have become beings with erased features, anonymous behind a uniform mask, perpetuating a masquerade that denies our humanity. In this absurd theatre, we play the role of strange puppets, suspended between the anguish ofasphyxiation and the nothingness of our own existence.
With "RESPIRE", Greyg aspires to raise awareness and awaken minds.
With this new project,BREATHE, Greyg wanted to work on the loss of meaning and identity of Man.
Under the pretext of progress, humanity has altered itsenvironment to the point of making it a threat to its own survival. The simple act of breathing becomes difficult unless you resort to an artifact, thegas mask, a fatal symbol of our condition.
Therein lies the tragic irony of this process: this mask, supposed to help us to breathe, is the fruit of human production, which is itself responsible for oursuffocation, thus bearing on its contours the imprint of our voluntary asphyxiation. We are under the influence of these technologies and condemned to a morbid dependence to preserve our survival in an increasingly hostile environment.
Putting on this mask, we rediscover the very essence of our breathing, but at the cost of losing ouridentify. We have become beings with erased features, anonymous behind a uniform mask, perpetuating a masquerade that denies our humanity. In this absurd theatre, we play the role of strange puppets, suspended between the anguish ofasphyxiation and the nothingness of our own existence.
With "RESPIRE", Greyg aspires to raise awareness and awaken minds.
With this new project,BREATHE, Greyg wanted to work on the loss of meaning and identity of Man.
Under the pretext of progress, humanity has altered itsenvironment to the point of making it a threat to its own survival. The simple act of breathing becomes difficult unless you resort to an artifact, thegas mask, a fatal symbol of our condition.
Therein lies the tragic irony of this process: this mask, supposed to help us to breathe, is the fruit of human production, which is itself responsible for oursuffocation, thus bearing on its contours the imprint of our voluntary asphyxiation. We are under the influence of these technologies and condemned to a morbid dependence to preserve our survival in an increasingly hostile environment.
Putting on this mask, we rediscover the very essence of our breathing, but at the cost of losing ouridentify. We have become beings with erased features, anonymous behind a uniform mask, perpetuating a masquerade that denies our humanity. In this absurd theatre, we play the role of strange puppets, suspended between the anguish ofasphyxiation and the nothingness of our own existence.
With "RESPIRE", Greyg aspires to raise awareness and awaken minds.
With this new project,BREATHE, Greyg wanted to work on the loss of meaning and identity of Man.
Under the pretext of progress, humanity has altered itsenvironment to the point of making it a threat to its own survival. The simple act of breathing becomes difficult unless you resort to an artifact, thegas mask, a fatal symbol of our condition.
Therein lies the tragic irony of this process: this mask, supposed to help us to breathe, is the fruit of human production, which is itself responsible for oursuffocation, thus bearing on its contours the imprint of our voluntary asphyxiation. We are under the influence of these technologies and condemned to a morbid dependence to preserve our survival in an increasingly hostile environment.
Putting on this mask, we rediscover the very essence of our breathing, but at the cost of losing ouridentify. We have become beings with erased features, anonymous behind a uniform mask, perpetuating a masquerade that denies our humanity. In this absurd theatre, we play the role of strange puppets, suspended between the anguish ofasphyxiation and the nothingness of our own existence.
With "RESPIRE", Greyg aspires to raise awareness and awaken minds.
With this new project,BREATHE, Greyg wanted to work on the loss of meaning and identity of Man.
Under the pretext of progress, humanity has altered itsenvironment to the point of making it a threat to its own survival. The simple act of breathing becomes difficult unless you resort to an artifact, thegas mask, a fatal symbol of our condition.
Therein lies the tragic irony of this process: this mask, supposed to help us to breathe, is the fruit of human production, which is itself responsible for oursuffocation, thus bearing on its contours the imprint of our voluntary asphyxiation. We are under the influence of these technologies and condemned to a morbid dependence to preserve our survival in an increasingly hostile environment.
Putting on this mask, we rediscover the very essence of our breathing, but at the cost of losing ouridentify. We have become beings with erased features, anonymous behind a uniform mask, perpetuating a masquerade that denies our humanity. In this absurd theatre, we play the role of strange puppets, suspended between the anguish ofasphyxiation and the nothingness of our own existence.
With "RESPIRE", Greyg aspires to raise awareness and awaken minds.
With this new project,BREATHE, Greyg wanted to work on the loss of meaning and identity of Man.
Under the pretext of progress, humanity has altered itsenvironment to the point of making it a threat to its own survival. The simple act of breathing becomes difficult unless you resort to an artifact, thegas mask, a fatal symbol of our condition.
Therein lies the tragic irony of this process: this mask, supposed to help us to breathe, is the fruit of human production, which is itself responsible for oursuffocation, thus bearing on its contours the imprint of our voluntary asphyxiation. We are under the influence of these technologies and condemned to a morbid dependence to preserve our survival in an increasingly hostile environment.
Putting on this mask, we rediscover the very essence of our breathing, but at the cost of losing ouridentify. We have become beings with erased features, anonymous behind a uniform mask, perpetuating a masquerade that denies our humanity. In this absurd theatre, we play the role of strange puppets, suspended between the anguish ofasphyxiation and the nothingness of our own existence.
With "RESPIRE", Greyg aspires to raise awareness and awaken minds.
Dans ce théâtre absurde, nous jouons le rôle d'étranges marionnettes, suspendues entre l'angoisse de l'asphyxie et le néant de notre propre existence.
