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The last scene at the end of the film resonated with me a lot. The shot where the camera slowly pans up the tree is similar to my style of filming.
We are left confused with multiple feelings that cannot be explained but are felt raw as we watch the panning of the tree with the movement of the water behind, it is powerful – but we cannot be angry at the poignant film we have just watched as at the end we are reminded that things are repeated and no matter what nature will be here, the beauty never truly dies.
The camera zooms in as if leaning in due to interest. My interest in textures and beauty within the world therefore zoomed into and isolated within the frames. Although this is not identical to physically looking and leaning into something in real life. How does one capture something that cannot be directly observed and recreated? This technique just implies, slowing down the speed makes the viewer aware of the slow zooming into a place coming along with me on the journey on focusing on the detail within a frame. By slowing down some moments I give the audience the opportunity and chance to truly feel it a chance they may not get often in real-time.
My work is influenced by allowing myself to be intuitive just as I allow my gaze to wander, just as I zoom
The eye does not see what the camera sees although I attempt to mimic my eye. The camera creates a different way of seeing, that can implement how we see in the real sense.
The audio is the same principle, we do not hear sounds the way I have portrayed them, isolating them and emphasising them. These techniques add the immersive quality of my work in an attempt to engage the viewer. For example, making the sound of the water louder over others sounds to then engage the attention to the water.
Re-enforcing this experience through coordinating the rhythm of my video, my ability to work with detail and make them work together. Art makes it capable to do this and create this intangible and unexplainable feeling.
I am aware of some cuts to be distracting or not work with the rhythm of the piece, or things moving in different directions. The order of the sequences can affect each other as we will associate them together with the twin-screen but I must also consider what was before and what is after will affect the present showing video too.
You can’t bring back the past, but what is the past? is it what has passed? What does the past mean for a person? As people we are the bearer of each present moment in the perspective of the past, the present can’t exists without the past, the past is all that has past in the reality of the present, each current moment, therefore the past is much more real and absolute than the present in which is unpredictable.
There are lots of images that seem to repeat themselves, but not in the same way. Oceans, lakes, rivers. Windows, reflections, plants and shadows. This is simply intuitive to me and my personal to my experiences and interests and what I find entrancing and I am drawn to, having had artistic choice and power over the camera – it will capture my way of appreciation to the world and the natural environment and its effect on us.
Without the limitations of science and trying to make factual sense of it. As life truly doesn’t make sense and the acceptance of this. That being human, deep emotional experiences cannot be grasped through logic and reason, they can’t even be described in words but can be felt intuitively and intimately through art.
Handheld camera resonates most with me – the movement of me holding the camera, although subtle symbolises how looking is never still and we are constantly moving in time. Just as the ocean is always moving and is never still. This also links to themes of fleeting time constantly moving forward.
The video camera, therefore, being a physical representation of my train of thought and true admiration for my surroundings.
Textures within images implement emotions and are more likely to stay in the viewer’s memory in an intangible unexplainable way, say paint flaking off a wall and moving water. As we spend long with the image on the right more things real themselves, like the cracked wall of the slight moments of the shadow. Through living and experiencing moments in time give them deeper meaning, the more time spent with one moment creates more engagement and more attention to detail.
Using moving image, as opposed to still photography, gives me the power to create a space in time subsequently as if it is a memory – still recalled and still real but no longer literally happening in real-time, but happening when it is played, just as a memory can be felt in the present when it is recalled. Capturing the very feeling of being present but in other creation of the present – ideas of escapism from your true present which is why we are originally attracted to going to the cinema. Cinema has the power to widen, enhance and concentrate experience. Cinema is capable of sculpting time according to our subjective experience of the world and of our lives
Emphasising the fleeting nature of time in order to become aware of the importance of each passing moment, give a moment enough time and meaning will be formed, we are made to feel and experience the reality of time.
Therefore giving the viewer the power to experience recollection present in its moment, moving and existing as a video, of being real and present there in the viewer’s feelings and awareness in a way that symbolizes the common materialisation of time in its linear passing sense.
I chose to layout the video in the form of a day as it’s the easiest way to show time in the form I understand, and to connect to the viewers in a way they will also understand and recognise linear time. To organise that which defines time as a linear concept, how to conduct that which seems to break the rules if our material reality, trying to make time comprehensible, relatable and recognisable.
The right screen may seem like a picture as it is on a tripod next to the handheld videos making it sit very still in perspective, just as present moments feel still when you are in them in real-time. The audience is required to pay very close attention to notice that the sun moves over the dappled light reliving it is a moving passage of time. More obviously, near the end of the piece a light flashes from a passing car in the window reflection – revealing itself as a more obviously moving image that the viewer may have been oblivious to before.
The audio is purposefully layered together to make a rhythm. The audio isolates specific sounds which therefore enhances the experience and draws the viewers attention to what it could be from. Such as the wind in the trees, white noise, distant traffic, the sounds of the sea and the bird’s tune.
Escapism into somewhere else a created world, a feeling of space. Creating depth and layers within the piece. Textures and rhythm of the window and branches moving, the sea, the layers of paint within the wall, birds passing, which play together in harmony of different patterns in various media. Movement and sounds bind together in harmony, the sounds keep playing into other videos, they are interacting and becoming one piece.
How we see and how we think don’t match up, we can be somewhere else in our heads. We are subjective to where we are and how the past forms the present.
All images point in some way, some more subtle than others, diagonally point to the left, or facing towards the left, or away from the left. Lines in some images mimic the window frame in the right video.
“a momentary passionate wish to grasp intuitively and at a stroke, all the laws of this world its beauty and ugliness its compassion and cruelty it’s infinite and its limitations” – sculpting in time
timeless and insatiable longing to connect to the world to have a reflection or rather an affirmation of our inner being
To be able to witness something present that triggers a distant memory while at that moment
“The aim of art is to prepare a person for death” sculpting time
My aim is for the sounds, cuts, lines, directions, textures and layers in my video to harmonise together as one piece, to create an awareness that time is fleeting and we should appreciate moments. Art has the power to enhance the loveliness of the world around us.
Titles:
Rest assured, time is passing
Everything will surely come again but in a different way
Resits production of physical objects, work only exists truly in the showing which is created during the time it is shown. This work showed for a minimum of 6 weeks. He believes that objects offer false security, links to ephemerality, passing, fleeting. Work is created through experience.
I want my work to be viewed fleetingly to stick to themes in my work of the passing of time, for the viewer the only see the video once and never again. Ideas around a live showing/walking through the dark ‘hallway’ once to view my video. Similar to the fleeting work of Tino Seghal.
“I assemble multiple moments of time passing into a final image that can connect with our past, and with our imagination, re-emphasising the connections between the real world and the mind.”
Karen Cosby’s work ‘Brick Lane Traces’ where she projects old pictures onto the places they were taken at the time, creating an ephemeral link between the past and the present, they seem ghostly through projections as we can still see the bricks and building texture behind – making it more obvious these photographs are of people who are no longer here – we are reminded of fleeting time, there here-then and the here-now.
Karen Crosby is then presenting the work/photographs onto the places they were created originally giving the photographs a completely different meaning to do with time and death…
As seen in Cinema Paradiso: This way the people who weren’t able to go to the cinema or afford the cinema were able to view the film, capturing an unsuspected audience
