I always like to borrow terms from other fields for the movement research. In Soft Wear, the term morphing entered the Damaged Goods lexicon. The solo explores dancing not only fluid movements but a liquid identity. An image is projected and dissolved as soon as it resonates. Every single movement proposed a different body, and the result were some frightening mutations of figures irritatingly familiar. I played with clichés of femininity. Perhaps it is the only piece that was in many ways informed by pop culture: Varinia Canto Vila and I developed two simultaneous versions extending the morphing process to our own identity as improvisers.
Meg Stuart - Brussels, 2004