2010. augusztus 13., péntek

Sean Edwards, No Dust Adheres



Stills from No Dust Adheres, Sean Edwards (2010)


In February I went to see No Dust Adheres, a film by Sean Edwards which explores social histories around urban commercial space and architecture through a melee of tracking shots of a soon-to-be demolished shopping centre near his home. Looking at my panoramic images after revisiting Sean Edwards' work has affected the way I view them. The cinematic framing I previously mentioned has become far more pronounced and I find a real sense of movement comes about from the overlapping frames and the merging of images. Through this merging of images a panoramic landscape is created and we are forced to read the work in a set order, to move through the frames as one continuous image, much like Edwards' film which moves along a set horizontal line. However, by using still images the pace of movement and reading is set by the viewer, not the artist.

The overlapping in Edwards' work is the result of shop window reflections; showing my images to a friend recently she thought my multiple exposures were reflections. I am happy for that reading/implication to lay latent in the images. My reasons for using multiple exposures, as I previously mentioned, were to represent a non-unilinear thought process but the implication of reading them as reflections is relevant too.

The press release for No Dust Adheres describes 'the camera's lingering shots of the building's interior alluding to film genres such as science fiction or the haunted house.' Indeed there is a hypnotic effect to the work; I remember watching the film sat on a cold floor in Outpost gallery alone wondering if the natural sounds of traffic and life outside were part of the film. I am still unsure whether or not the film has any audio.

I have recently been talking to a friend of mine about creating a 'sound map' of Anglia Square to accompany a forthcoming exhibition of these images. In writing about his love of Noise music, Mike Saunders says: 'I am constantly interested in it in a way that is either completely visceral or indescribable... it is so ready, so malleable for questioning.' Mike recently conducted a walk from Norwich to Cambridge. Reading through his notes regarding the affect Noise music had on him during this expedition (which can be read in full here) it seems his journey is more of an experiment than a hike. During one section of his walk across the Fens Mike describes 'the surreal remove that this music inhabits the landscape.' What I hope to achieve by making use of sound recordings in the exhibition is the blurring of natural and recorded noises, to recreate the unknowing I felt when watching No Dust Adheres.

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