“I began painting in order to hang my ideas on a nail.
That allows me to change them, avoiding fixed ideas.”
— Georges Braque, Cahiers

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Reading Georges Braque’s Cahiers revealed the need to transform Like Snow into something new—a work that begins precisely where the previous one ended.

From the suspended stillness shared by two bodies in a fragile state of balance, the material begins to transform.

The snow that was once contemplated from behind a window now envelops, overwhelms, and disorients. It becomes a blizzard. The bodies cross the threshold and confront complete exposure to the outside world.

The relationship between the two dancers evolves: it stretches, breaks apart, and is rebuilt.

This new chapter does not deny the sense of well-being explored in Like Snow; instead, it moves through it. It challenges it, stains it, loses it.

The blizzard thus becomes a metaphor for growth:
from childhood to awareness,
from protection to responsibility,
from contemplation to action.

Two bodies remain at the centre of the stage, like two snowflakes carried by the storm. They do not seek to stop the chaos, but to inhabit it.

Their movement loses definition in order to discover a new form of presence: unstable, necessary, alive.

“A single drop of water on these sugar loaves, and everything melts.”