Layered photographic transparencies, perspex, fluorescent tube lighting
Exhibited DSA SITE Exhibition, Dunedin, New Zealand (2009)
Exhibited Dunedin Public Art Gallery, New Zealand (2012)
Examines the alternative ways in which still image and moving image create the ‘illusion’ of time and spacial density of the real.
StillMoving reinvents the ‘Odessa Steps’ scene from Sergei Eisenstein’s 1925 silent film The Battleship Potemkin. The Battleship Potemkin presents a dramatized version of the naval mutiny on the Russian battleship Potemkin in 1905, and still stands as a fundamental film in the exploration of Soviet montage and political influence. Perhaps its most recognised scene, the Odessa Steps is comprised of various cuts and layered action. Tension and emotion build as the scene descends a seemingly endless set of steps and ‘real time’ is alluded to through the splicing of sequential events .
The Odessa Steps sequence is reimagined as a modern frame-by-frame take on the way in which time can be manipulated; stretched out and condensed, while drawing on elements of role-play and cinematic staged lighting. Each frame from the moving sequence is then printed onto and individual layers of transparency, and layered in front of a light box. The large scale work and darkened room is reminiscent of a cinematic environment, while the three-dimensional quality of the layered images change according to the position of the viewer enabling viewing to become an experience. This removes viewers from the prescribed screening environment of the cinema by disrupting autonomous viewing. StillMoving creates a visual challenge where there is an emphasis placed on time and duration itself; a still image where movement is propelled by the viewer.