There is a circle on the floor. It is almost
black. Made of a finely ground material
that can be smudged and altered: graphite.

We watch from above.

The room does not seem significant: a white space that mirrors many others. The longer
we observe, the more its idiosyncrasies be-
come apparent: creases on the floor, an or-
ange cable, columns, the outline of a door.
A ray of natural light gives it warmth. It feels
human, hardly a stark space.

She enters. Her fair skin and soft pink leotard offer a strong contrast to the dark circle on the floor. Who is she? We do not know and yet it does not seem to be important. We will never know more about her than what we learn through her movements. Her slow
pace invites us to watch closely. There is a sensuality about her, a tenderness that is
both appealing and welcoming.

We watch as she approaches. Her hands
sweep down but suddenly jolt away. She is
not ready to connect with the circle. Her body spins away from the graphite as she reaches her arms overhead. Her spine curves and lengthens as she slows down. We concentrate on her enticing movements as we follow her
in and out of focus. She is full of curiosity, eager to interact with what is on the ground.

The circle is like a magnet, seducing her to move closer and closer. We imagine her longing. Her desire. Anticipation. She lifts
her leg and unites with the material. She seems determined to use only a fraction of her body. As her toe touches, she makes a circling motion with her arms. She is embracing the beginning of a new phase. Her movements will become more intense and leave marks
on the floor and her body. Her steps will transform what once was a circle and leave traces which remain as evidence.

For now, nothing is set. She improvises
her movement, building upon each moment.
There is no choreography to follow. Only
her thoughts and feelings determine her rhythm.

A wisp of graphite fills the air as she strokes
the surface of the circle with her hands. The interaction continues. Each step is deliberate. She appears to identify increasingly with her movement, aligning her thoughts and actions. She is in the moment and willing to allow for the experience to leave a mark on her. She is ready to cover herself completely.

Manifestation. Her pace quickens. With each step the circle disappears further and spreads across the floor. It spreads onto her arms and legs, her body. She is entirely covered.

As she slows down and comes to an end, dislodging from what has pulled her, she
starts to internalize her feelings. Reflection. Lying on the ground, she seems to newly dis-
cover herself. Her blackened hands wander, quietly. She pauses to observe. Every pore
on her skin is filled, a somber coat draping her body. The intensity has elapsed. The ambition has faded. She has changed. The material she moved through now remains only streaks of gestures across the floor.



the book
book book book book book book book book book book

Kontinuum is a cycle in three parts: Anticipation, manifestation and reflection. The longing for one’s object of desire is replaced by a complete absorp-
tion and ends with the disappointing realization
of not having fulfilled one’s aspirations. As soon
as we arrive, the moment turns into history. We are left with a void. A cycle that repeats itself endlessly.

The images here, culled from a dancer’s sweeping actions, try to preserve these moments. But this only remains an effort and is set up for failure.
With each step the dancer erases what has pre-
viously been established. Each move transforms
the ground she walks on. Each trace is replaced
by another.

192 pages + 6 inserts/ 8.25”x 6”
Includes sleeve with blind emboss
Sewn bound & offset printed

Edition of 500/ Numbered



MyORB is a multi-disciplinary creative studio
based in New York founded by Czech-German creative director Lucie Kim. Our focus is to work closely with clients to help define, understand
and express their own identity. We bring brands alive by consulting on all creative aspects of our client’s business, whether it is to design a logo,
help shape the interior of a new store, or to
conceive and produce branding videos. We think
of client work as collaborations based on mutual interests; we take great pride in our many long-lasting relationships since our success is based on how well we meet our clients’ evolving needs.

In addition to client work MyORB produces
various self-initiated projects such as books,
products and films.


dancer: lynsey peisinger
sound design: explosionrobinson.com
post facilities : cause & effect
location assistant : stephanie walker

contact: hello@kontinuumproject.com
Lucie Kim

Born as Lucie Ederova in Prague (Czech Republic), she moved to Munich (Germany) at the age of three and was raised as Lucie Eder in an effort to adapt her name to its German Heritage. After her marriage in 2009 she changed her name to Lucie Kim in order to fool everyone into thinking she is Korean.

Lucie is the founder and creative director of MyORB. Her personal work involves a variety of media, from photography and video to sculpture and installation. She archives and documents aspects of everyday life that are often taken for granted or not entirely considered, and turns them into physical objects. Her goal is to further investigate human relation- ships within multicultural urban settings.

Lucie teaches at Parsons the New School for Design and has been invited to participate in discussion forums and judging panels at the Art Directors Club, School of Visual Arts and Pratt. Lucie has a BFA from the Fashion Institute of Technology and a MA from the Chelsea College of Arts, London.

Felix von der Weppen

Felix von der Weppen was born in 1987 and
lives in Berlin. His artworks mainly circle the human relation and interaction with space in western society and its handling of transitoriness, which he sees as a deeply connected dialectical unit he aims to examine and playfully interact with. His latest series Ornament and Concealment focuses on the city as a concrete example, where both preservation and modernization attempts are examined as rather symbolic and ritualistic tactics to prevent loss, contrasting the idea of the West as a materialistic and enlightened progress-oriented society. Mixing documentary with symbolic elements, his works include and sometimes assemble film, photography, writing, sculptures and installations.

In 2012 he founded the design studio Manufaktur für Ungreifbares through which he aims to maintain and extend a more direct, less representational interaction with his environment.