THE AESTHETICS OF LOSING CONTROL:
an exploration of personal cinematic memory
The Aesthetics of Losing Control (2014)
Dual Screen Video Installation. 9 minutes, 18 seconds (looped)
The Aesthetics of Losing Control is an ongoing video, installation based work concerned with the extensive blurring of cinematic memory with real memory. In an attempt to encompass a lifetime of image processing, disjointed, melancholic moments of clarity and understanding piece together a wider puzzle of personal and cinematic memory.
The American landscape is one of the things at the forefront of my work, visually and thematically: Road trips, sexual encounters, death, escapism, dualism and visuals incorporate and intertwine lived experiences with filmic hyperrealities. Spiritual vision quests and drug trips, cascade from motel to freak show, to strip club, through the depths of memory, colliding with the banality of everyday.
Cinema is my personal lingua franca; I borrow from and reference cinematic convention as an ongoing exploration of projected memories and internal/ external landscapes. Intending to mentally annex the viewer, my video’s narrative structure is fragmented, and traditional cinematic shots are altered in their speed and sensuality, evoking a more saturated, idealised, dream-like environment. The result is a disorientating portrayal of time and space, with narratives, characters and landscapes that are visually teased and tormented, but ultimately destroyed. Distraught in their summation, relationships and encounters are never fulfilled, and no wider truth ever achieved.
For this work I made two separate video pieces, one 4 minutes 30 seconds, and the other, 5 minutes long. Each encompasses different paradoxical shots and scenes blurred and slowed down to a point where, they become disparate from their original sources, aligning themselves to my ongoing video narrative, compromised of an ongoing disjointed story. Clear depiction, or even clarity of shot or understanding is something I don’t concern myself with- I focus on rhythm, colour and resonating mood/ feeling. I don’t need a shot to be in focus to achieve this; an aesthetic emotion can be derived from anything as simple as two contrasting colours moving in synchronicity.
The cinema-scope- esque dual screen installation itself can be viewed from any point, and is intended to be seen as a cyclical, ongoing work. It drifts in and out of synchronicity, the aligned images falling in and out of tune and sync with one another- forming new and unfounded connections. Nothing is entirely contrived, or certain, but allowed to wander, off the wall and into the imagination.