Docvale explain us the RS style
Of course, things did not go so easily and the first few months were particularly difficult. Inspiration and / or learning from the ropes and bondage of others gives a guideline and at that point disappear. Then followed a moment in a kind of writer’s block, and finally a period of research of a kinbaku essentially focused on the perception of my partner, which must now be conceptualized. in order to evoke what defines best Ropesession’s rope style.
The contemporary kinbaku has brought a lot in terms of safety, manipulation of the model, adaptation to anatomy and communication in ropes. It seems to me interesting to use the tools available to our generation to revisit the aesthetics of our predecessors’ bondage and whose work is influencing mine a lot.
But what if we consciously make the choice to use a manipulation from a more “oldschool” shibari? Could this create an intense emotional break? What psychological impact could emerge in rope from this communication mode appearing less efficient technically ?
Another striking example, in another register of Japanese rope bondage, concerns aesthetic. A some point, considering my rope work, i found it one deeply boring and without character. I looked back to the past wondering why their kinbaku seemed more alive to me.
Rather than looking in depth at concepts of aesthetics that I could never really grasp as I was not culturally able to really understand them, my choice was to immerse myself in Japanese rope bondage, and try to feel their practice of kinbaku according to my own feeling. Is there a perfection in imperfection? What is the importance of the present moment on what is shared together in ropes, for what is experienced by observers? Does this have an emotional impact on my partner during our shibari sessions, and if so, in what way and how far?
In this continuity, I wondered why some Japanese photographers specialized in kinbaku were taking a lot of pictures with shibari positions that at first seemed identical. Why this choice ? Is there an evolution, a progressiveness between each of the pictures? What was the hidden meaning, knowing that the Japanese rarely do things randomly?
Subsequently, after my partner offered me a bonsai and some books about them, I saw the similarities between my shibari work and these trees. Compared to a rope session, bonsai seems totally timeless, but taking the time to take care of it, I realized the importance of its architecture in the desire to achieve a certain harmony.
By observing a bonsai, and I wondered what could create harmony. The aesthetics obviously, but also what emerges emotionally, and more, the necessary technic to obtain this timeless tree and feel it so alive.
This is how naturally my kinbaku became oriented towards an architecture with three complementary sections that are “asymmetry, space and depth”. Asymmetry representing non-conformism, aesthetics bringing the visual of ropes and depth representing emotional intensity and life.