Between 2006 and 2009, André Martinez developed a body of videodance work grounded in experimentation, based on the relationship between the body and cameras. The works use portable digital cameras such as Cyber-shot, at a moment prior to the integration of these tools into mobile phones.

Camera and body operate in close proximity. As lightweight, handheld devices, camera movement becomes an extension of the body. Video no longer serves as documentation: framing, movement and editing construct movement. The action is not concentrated in the filmed body, but distributed between gesture, camera and editing.

Movement is organized through editing. In some works, the body is photographed, fragmented and reassembled in sequence. The continuity of gesture is replaced by the relation between images. Dance takes place in the edit.

Rhythm, repetition, cut and contrast structure these sequences, organizing movement as visual composition in time. The image no longer represents the body; it operates as an active element in the construction of movement.

The work emerges within the formation of videodance in Brazil, in dialogue with a generation of artists who worked with dance and video as a field of research, including Alexandre Veras, Breno César and Oscar Malta. It is a practice of investigation, focused on the experimentation of procedures rather than on stabilizing a form.

Part of this work developed through collaboration with other artists. Projects with Cynthia Domênico, Leonardo Maia, Silvia Geraldi, Thaís Ushirobira, Tamara Ka and Nirvana Marinho include videodance, performative installations and happenings, integrating video, dance and music in real time.

This work was presented in screenings and festivals focused on the field, including Mostra Lanterninha (Cine Olido, São Paulo, 2008), III PlayRec – International Videodance Festival of Recife (2009), and Flow Literário – Festival of Literature and Arts (2021).