Look, I need to talk to your boyfriend. Your fiancé? Congratulations! It's about ... I inherited my father's wealth, but it's held until I'm 21 and the executor ... You're right, I'd best talk to Joe. But it's urgent. I need to find new guardians now and maybe emancipation. Okay. Just a second." Grace already had a notebook open and ready to write down the number. He gave it to her. "Thanks Marta. Wow really? That soon? Of course I'll be at your wedding. And maybe Thanksgiving? I'm glad you're my friend and only wish it hadn't come to that. But I understand. I have to. I like you and I think I need you in my life. Talk to you later."As soon as the elevator opened revealing the three teens, Laura called Debra. Stepping around the reception desk she shook George's hand and exchanged introductions. "Are you okay?" she asked the bruised young man."I'll live." Sorry for your loss." Thanks."Debra came to the reception area. "Follow me," she said. She led them to a small conference room. A place specializing in industrial film development loved the shock. They probably made copies. The photographer brought me to a showing of some avant garde film, but though interesting, they didn't reflect my vision. At times tricky and fun, at others poetic and symbolic, they seemed formal and composed and a continuation of the illogical logic of the surrealists. I wanted more gesture.The Vase transformed with the camera. My sister filmed rehearsals or each of us took the camera and focused it on the others as we babbled and moved. I discussed with my collaborators each of us making autobiographies, shooting things representative of who we are and where we've been. We wanted the creation of the vase to occur during the performance, something new out of old texts and choreography. The films contained the oldest part of the performance. Whatever I edited held previous moments. It represented where we came from before arriving on stage and creating the new vase. We decided on four.
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