His chin is pinned to his chest and his back arched in an uncomfortable S-shape while his arms create mesmerizing shapes. Together these different characters paint the portrait of a relationship, or of several relationships, or perhaps of love as a cultural practice. Grenke's investigation of love keeps well away from melodrama because of the extreme restraints he places on his performers. They are almost entirely isolated from each other. Actors never address one another and dancers never touch one another.
Austerity also prevents the use of multi-media from becoming fragmented.
The soliloquies are never verbose and the movement is never unbridled. One art form never fights to take attention away from another. Rather, one medium comes to the foreground while the other recedes, each making space for the other in turn. Movement slows to allow for the visual projections, talking ceases to allow for dance. These transitions are so smooth, so unnoticed that the differences between art forms seems meaningless.