Sideshow Circus Magazine

One memory of InStallation is a chain of enduring images, seen through washes of blue and white light. A Chinese pole swings as a pendulum, casting a crisp shadow. Sawdust dropped onto a spinning diablo is flung outward in a shower. Thin strings of rope cascade and turn around a woman outfitted for rain.

Four grey-robed Keepers tend the grounds of St Alfege churchyard and the gateway to the next life. From a list of names of the interred, three are chosen: Levinia Fenton, Gibson Grimly and Jose Manuel Fricachee—unquiet spirits who need to tell their stories in order to move on.

Urban starts with an almost empty stage—the only thing occupying it is a large oil drum turned on its side. The beats kick in, and on bounce half a dozen young men in ripped-and-torn togs, faces smeared with white chalk.

There's a disorienting scene in Mue where a woman with a mask on the back of her head—a mask with shoulder-length hair that obscures her ordinary face—climbs a rope, straddles and inverts and turns. Watching, you experience a disturbing constant Magic Eye flutter as you switch between either perception: is it a mannequin with joints twisted every which-way, or a real human body without a face? You can't see both at once.