“He was thrilled and totally supportive,” McGregor says. They are active participants.”Īuthor Jonathan Safran Foer himself was in the audience on opening night in Manchester. “It’s a full, realized work, and the audience themselves are reflected in it.

McGregor is pleased that it had such a strong start in Manchester, particularly in being able to reach “people who had never seen dance,” who could engage in the “raw connectedness of the work, because it’s not just dance, or music, or visual art,” he says. After this week of performances, the ballet will travel to Paris, London, Miami, Athens, and other to-be-announced locations.

Tree of Codes still has many audiences to reach after New York. Jamie had seen Eliasson’s exhibitions, and Eliasson explains to me via email that he is “fascinated by the subtle layers in Jamie’s music.” He continues, “The beats and lower end feel like they engage the subconscious they remind me of where I come from.” Eliasson also recognizes the crucial intersection of all three of their practices: “Both Wayne and Jamie work in ways with which I identify-they embrace abstraction and complexity in contemporary languages, while giving their output a form and a tone that are accessible to broader audiences.” McGregor was listening to a lot of Jamie xx’s music at the time and knew he wanted to work with Olafur Eliasson after seeing his sublime The Weather Project at the Tate Modern in 2003, where the artist created a giant, rising “sun” in the museum (McGregor describes it over the phone as, “one of the most thrilling performance events I’ve ever been to.”) So he asked Jamie and Eliasson if they’d do a ballet with him, and they both said yes.Īs it turns out, Jamie and Eliasson were excited to be brought together.

Tree of codes book