In the photographic proscenium, the performance in Theatre of the Instant is defined by the possibilities for ‘dynamic expression’ and play of lights in the frozen silver space; contrasting with the written/spoken semantic of the textually based script.

Instead of relaying literal plots and narratives as premeditative scenarios performed inside the frame of time, Thespis (the actor) essentially recovers the notion of language half-way between gesture and thought, merging symbolic traditions with the phantasmic myth in that first Interior of the photographic space.

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Instantaneous photograms, light holding against the dark, the reversed shadows are evocative of a twilight world, unreachable in its cause but revealed through its effects in both Interiors: psychological and photographic.

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As an alternative to performance, Theatre of the Instant forms a modern iconography represented by four folios of work:

• Unanimated, 1981 - Series of 12 B&W photographs

• From Landmark to Location, 1982 - Series of 6 B&W photographs

• Shadowgrams, 1983 - Series of 12 B&W photographs

• Monuments Erected on the Ruins of Modernism, 1984 - Series of 12 B&W photographs