I was told not to make eye contact with Tom Cruise; it invites us to observe that which is always outside the field of view yet present in one way or another. Like ghosts to dogs, or the distant barking that always emerges at some point during the day. The starting point is the figure of the extra who always responds to the call to be behind whatever the gaze is fixed on, while still being perceived. And sometimes their name doesn’t even appear in the credits, and they’ve even been forbidden from looking at others, for not being part of the hegemony of the gaze, which most of the time is masculine.

This work is like a rumor about fake trees air fresheners that no longer smell that we no longer even notice. About bodies that move without being seen and about how movement possesses these bodies to make them discreet, almost invisible.

An invitation to a sensitive contemplation of the spectator’s presence and gaze within the theatrical space.