Jens Östberg’s Born at the Point of Impact is itself born out by an abstract thought, though in so doing it does not exclude the potential for human drama. The conceptual framework is that each singular concentration of energy or dynamic gives rise to a new kind of focus, or a new passage, opening or negotiation. From the minutiae of the work, the movement, to itsgrand scale direction and overarching course of action, something novel appears at the point of impact.
Though Östbergs work could be defined as epic and dramatic in some sense, it is uniquely formed through a cinematic perspective. (Östberg would later go on to direct a number of films and television series.) This particular work was inspired by the aesthetic of comic books and graphic novels.
In a rapid fire line up of images, Born at the Point of Impact is formed through different passages that accumulate and come to a head, pivot, or create a focal point.
The exception to this structure is a duet danced by two men, one mutilated, the other in tact. The scene is simple yet full of uncanny surprises.
Born at the Point of Impact featured music by the group Dead Can Dance. It has elements of Celtic and Arabic folk music. At once beautifully melancholic and sacred, the music is also punctuated with strong contemporary currents.