Explore the light. Unravel the secrets of the universe through it and understand its transformative effects. Mayice is inspired by the intricate relationship between light and our perception of the environment. A simple alteration of this element has the power to provide a new perspective that changes our interpretation of the world around us.
Niccolò Montanari: Can you talk a little bit about your collaboration with the Spanish product design and architecture studio Mayice? How did that come about?
Grosso Modo: Since we decided to join together as Grosso Modo we always knew that design was an important and attractive topic for us. Looking for designers to realise the project, we met Mayice through a cultural association to which they belonged. Mayice’s vision of space through light was what caught our attention. They have always sought to illuminate minimalist spaces with lamps that integrate subtly. This idea captivated us from the beginning since what seems simple at first glance demands an exceptional level of attention and detail. From the first moment, the relationship was very fluid, we understood each other perfectly and a relationship began, both work and personal, whose latest collaboration gave rise to Chasing the Light.
NM: As a creative duo, how do you divide responsibilities and collaborate during the filmmaking process?
GM: When we prepare personal projects like Chasing the Light, our work goes beyond the roles of Director and Cinematographer. Normally we start by proposing the idea of the project and discussing how each of us sees it. Once we have a clear idea and there is a script, we look for how to translate that idea into images, the format, the support, the sound, the music… When we are going to shoot, we each focus on our main roles of Director and DOP and we are in charge of directing our teams. In post-production, we normally return to the initial situation and we are both present in the editing, sound design, colour grading…
NM: Can you discuss the look of the film and the meaning behind all the visuals evoking patterns and geometry?
GM: Mayice lamps normally have delicate and geometric shapes but we focus on a more brutalist and rough, unpolished piece, trying to evoke the creative process behind each work, returning to the origin. We chose to shoot the project in 16mm and square format (4:3) because, in our search for symmetry, we decided that the most logical thing would be to use dimensions that were the same size in height and width. Furthermore, this format turned out to be the most suitable for composing with the spaces in which we filmed and achieving the desired color by using tungsten film with daylight outside and tungsten lights inside. The black and white shots simulate his introspective gaze in each of the three processes that we show in the video. We always maintain this aesthetic in black and white and symmetrically, intending to reflect its clean look. In addition, we strive to achieve continuity in the assembly, ensuring that these shots have a connection with those that precede or follow them. Finally, we chose to tell the story through two opposite colours: red and blue. Red, as the main color, was chosen to highlight the pieces created by Mayice, while blue was used for spaces that were not part of their design. The last shot, before the credits, exemplifies his approach, showing how each of their pieces integrates subtly with the environment, going unnoticed when not illuminated.
NM: Chasing the Light looks at the creative process behind Mayice’s lamps. How did you approach capturing that, and the essence of the lamps, in the film?
GM: From the beginning, we knew that we did not want to make a typical documentary in which they themselves told us how they created their pieces. We wanted to approach his creative process from an artistic perspective, like the process itself. There is a lot of research and trial and error behind their lamps, and that is what we wanted to transmit. We intended to tell the creative process from the most basic, a sketch, and how different materials are joined together until the light draws the desired shape in their lamps.
NM: Can you discuss the technical and artistic challenges you encountered in playing with lights to get the visuals you wanted?
GM: Working with lamps is always a challenge, since it is an object that emits light but it is not possible to illuminate the environment with the lamp itself without losing all its details. You have to work in layers, trying to reproduce the lighting that the lamp itself would make in the environment but preserving all its details. This situation becomes even more complicated when you work with celluloid since it is not possible to see the final image on a monitor on set.
NM: Looking ahead, what projects or themes are you excited to explore next, and how do you envision your creative partnership evolving in the future?
GM: We would like to continue working on projects related to design and that have a social conscience. We are interested in projects that address the challenges we face as a society and try to respond to them, and in these terms, we believe that design plays a fundamental role.