THE relationship between the past and the present through the means of a dying organism
(2020 - 2022)
her absence in architectural reunification
(2020 - 2022)
Seen and not heard
‘4:11’ is the first instalment in a new series of video based works titled ‘seen and not heard’. Its aim is to investigate our obsession towards music through the medium of video. The series consists of home footage of individuals passionately recreating their favourite songs. The absence of sound relies on the visuals to articulate the musicality of the song in question. Not only are the visuals a tool for the spectator to perhaps witness music differently within potentially an exhibition or gallery context, the videos also allow them to reflect upon the different environments in which music can ultimately be created.
What makes a song popular?
Can silence enhance our relationship to a piece of music?
How can a non-linear approach to experiencing a piece of music alter the emotive relationship between viewer and video?
These are just some of the questions that lay behind the justification of the series. Specifically, ‘4:11’ is a visceral investigation into Radiohead’s infamous song Everything In Its Right Place.
Framing within the videos is a key element in the series from the perspective of narrative. As the framing changes between clips, so do the perimeters in which the information can be consumed by the spectator.
To ensure that these videos are accessible to as many people as possible I have made a deliberate choice in making sure that certain signifiers are present, including a few lyrics presenting themselves as subtitles, a few seconds of sound at the beginning, and at the end, and finally the title of the video corresponds to the length of the original song. This approach to titling will remain constant as the series progresses. It’s with this in mind that I am able to manipulate, and at times both focus and distort the narratological structure that has previously been established by the original content on display.
as the bed shrinks, the regret deepens
as the bed shrinks, the regret deepens explores the notion of preservation within the context of the object and the frame. As these pieces age so will their cultural and autobiographical significance. The presence of handwriting is used as a tool to humanise the formal process of content within a frame. This is also a study in how the frame elevates its contents to an higher entity compared to those outside of the frame.
The artefacts at times can be seen bursting out of their frames. This form of expansion is in relation to the claustrophobic nature of inner thought in regards to memory, interpretation, and the ability to recollect experiences of the past, and the potential for misinterpretation of these events.
These works primarily investigate the preservation of objects. By placing them within the context of a picture-frame, these objects are evaluated to a particular level of preservation. These works will mature over time, as society changes, and reflection or critical analysis begins to set in, this is where the context of the artworks can develop. It is during this process of development that the pieces begin to transend temporalities.
The inclusion of text provides exposition within its narrative. As a narratological device, the words act as a vehicle for interpretation. An interpretation and reinterpretation are both present in a continuous feedback loop between the artist and the spectator.