Dance theorist and sociologist Randy Martin describes dance as a point of intensity; dance is not just a specific activity of movement but also an analytical framework. Building on this concept, this choreographic work explores the environmental aspects of dance as a form of temporal and spatial environmentality. Here, dance emerges as a spatial practice, characterized by the interaction of space and time, serving as both a fundamental element and a layered, complex structure. Set in the Croatian Natural History Museum, the piece examines multiple meanings of form and time. The performance takes place during the day but also mostly in silence, while embracing the ambient sounds of the museum, including the presence of museum visitors or staff walking through. Space becomes a complete sound and a listening experience. Dance becomes attuned to the rhythm of the daylight. Time becomes spatial in itself.

Narratives of nature and its processes are approached as landscapes of time and materiality, while dance reflects the dynamics of natural and historical changes. This creates a multidirectional connection between the forms of choreography and the forms of nature, movement as memory, and dance as the surface of time and nature. In her text Regarding the Commonality of Life: Theses on Vitalism and Ecology, philosopher Branka Arsić explores ontological and epistemological distinctions between interiority and exteriority while contemplating nature, matter, and the body. She highlights beings as both individual and environmental, dispersed throughout nature’s matter and the movements of its elements, while emphasizing the inseparability of the shared fabric of life: the sensual, human, vegetal, animal, mineral—elements of nature and their durations—suggesting a bioecology of vitalism as a starting point for ecological ethics. Choreographically considering these theses, Reconstructions shift the practice of dance toward the horizon of vital nature—of form, of time.