(above image from Sans Soleil)
I attended the opening of the latest exhibition at the Seventeen gallery “Echoes of the Ornamental Garden.” Although the sculpture was in part impressively manufactured it was hideous to behold and its description made a little bit of sick rush through my guts: “Once a reading of the alignments and spatial energies inside the gallery has been undertaken, Victoria Adam will position objects accordingly within the exhibition space.” BS aside there was a quite impressive 3D film by Richard Paul Called ‘All That Is Solid’ being played in one of the rooms:
It was contrary to my research so far in that the future seemed positively utopian. It made me realise perhaps I am being a little too down on what lies ahead. Positivity is altogether more attractive to an audience than bleating on about the after effects of a nuclear holocaust that only exists in my head. The voiceover detailed the mythical properties of the building materials to an imaginary city all in cinematically executed 3d. This reminded me of a recent conversation about technology and its place in culture particularly in art. As much as I have tried to fight it, my realisation in defeat is that my work HAS to make comment on the world around me and the world around me is one of ever advancing technology. Furthermore if I am to make art to reflect this understanding I need to begin to utilise the technologies at hand to make truly progressive work. Although I am working on an animation in the background it is admittedly using a photoshop process I have been fluent in for years. I think its time to visit the digital suites upstairs and put some more challenging ideas together.
‘All that is Solid’ immediately made me think of Chris Marker’s genuinely mesmerising film Sans Soleil. The narration in Marker’s film comprises of imaginary extended memos explaining the footage for the benefit of the film’s camera operator. They go in and out of relation to what is on screen in what appears to be, for lack of a better term, ‘a stream of consciousness.’ The footage consists of a lo-fi version of Samsara style cross section of society at the time of its release particularly in Japan and Guinea-Bissau showing polar opposite ways of life. In re-watching my copy of the film I decided to watch Marker’s other piece on the DVD La Jetee. Artistically this appeals to a more high brow section of my interest that the majority of mr research to date – this is in no way trashy or ironic. The film consists of a sequence of stylishly shot stills, all impressive in their own right, illustrating the story of a post World War 3 time traveller. Unlike the other sci-fi art and films I have mentioned to date this film is truly timeless and the fluidity of time within the plot makes it’s success even more astute. It got me to thinking about how making films in order to tell a story; the motion of the film can be secondary to the narrative. This idea however perfectly contradicts the type of technology heavy, if possible 3d, type of animations I had planned on giving a go. So perhaps an idea ‘moving forward’ would be still 3d images suited for film but presented sequentially?
I really enjoyed the style of voiceover in both Sans Soleil and the film at Seventeen. It was hard to place where it was from which in turn looked to the future as increased cross-nationality continues to effect the way people communicate. I like the idea of deconstructing this notion by perhaps narrating a story in various languages simultaneously. This would open up the story to people from different backgrounds but at the same time make it harder to decipher through the layered languages.
In the mean time I’m continuing with more hands on projects whilst I generate solid ideas and await some of the digital learning workshops.
Progress report on other computer virus animation: