Author Archives: eleanor11

Factory Wall Timescales [3]

The factory wall records time. Experienced from the adjacent artists’ studios the wall receives light, marking the passage of time, counting the hours, days and seasons. The film takes the distracted, peripheral experience of the wall, registered though these disparate timescales, concentrating the captured fragments into a focused, new construction. The screen of the wall is dissected and reconstituted in the screen of the film. The concluding coda synthesises an extended timeframe of eighty days of continuous filming into one minute of pulsing days, flickering light and washes of rain. Continue reading

Displaced – new edit

The film explores the space within a 1:50 model reconstruction of Bruce Nauman’s “Double Doors – Projection and Displacement” (1973) as re-installed in 1990 for the “Un Choix D’art Minimal Dans La Collection Panza” exhibition at the Musée d’Art Moderne de la Ville de Paris. A single photograph of the installation and a reproduction of the accompanying text, each published in separate books, provide the entirety of information about the original, transient artwork in order to translate it into the new forms of model and film. The text, itself an instruction to the viewer, emphasises that this spatial installation is designed to be experienced by an embodied viewer, over a period of time – the film of the scaled model reconstruction of the installation generates a parallel, analogous experience for its viewer. The film serves as a performance of the textual instructions as the camera repeatedly attempts to move forwards into the model space and its enfilade of rooms. The film’s viewer is also encouraged to perform the textual instructions, yet is perpetually held back, rigidly separated from the space beyond both by the impermeable threshold of the screen, as well as the scale differential between their own body and the scaled model space. An ever-slowing inverse sine wave provides a discomforting accompaniment to the uncanny imagery of the model space. This constructed sound, like the visibly (re)constructed space, affects the viewer, simultaneously engaging and repelling them into and out of the projected space. Continue reading

Acrylic block and cube shadows [1]

I have extended the technique of back-filming the shadow projections of acrylic cubes, using the solid acrylic blocks that I have been using for cyanotype printing. I have mostly used the solid acrylic blocks, supplemented with two cubes. The blocks and cubes provide very different effects – the cubes present as wireframe “drawings”, while the blocks’ side edges present as solid. Continue reading