THE SEVENTH SEAL
A film of a projector screening Ingmar Bergman’s The Seventh Seal.
An image of the sky focused to beyond the point of infinity.
1 INTO 25
This video begins with one shot lasting one second. The shot then continues for 0.5 seconds, and a second, different 0.5 second shot is added to the sequence. In every additional second the previous shots are repeated, a new shot is added, and the duration of each shot is redetermined by dividing one second by the total number of shots for that second - so the third second is composed of three shots each lasting 0.333 seconds, the fourth four shots lasting 0.25 seconds, etc. The video finishes on the end of the 25th second, which comprises 25 shots each lasting one frame (standard European video frame rate is 25fps).
‘From the very start there is no innocence and no singleness. Every created thing, even the simplest, is already guilty, already multiple. It has been thrown into the muddy stream of being and may never more swim back again to its source. The way to innocence, to the uncreated and to God leads on, not back, not back to … the child, but even further into sin, ever deeper into human life. Nor will suicide ever really solve your problem … You will, instead, embark on the longer and wearier and harder road of life. You will have to multiply many times your two-fold being and complicate your complexities still further. Instead of narrowing your world and simplifying your soul, you will have to absorb more and more of the world and at last take all of it up in your painfully expanded soul, if you are ever to find peace. This is the road that Buddha and every great man has gone, whether consciously or not, insofar as fortune favored his quest. All births mean separation from the All, the confinement within limitation, the separation from God, the pangs of being born ever anew. The return into the All, the dissolution of painful individuation, the reunion with God means the expansion of the soul until it is able once more to embrace the All.’
Developed as part of The Ouse, a video project about Milton Keynes commissioned by Arts and Heritage Alliance of Milton Keynes (AHA-MK).
Voiceover taken from list of species introduced in experimental augmentation of woodland field layers in MK in 1987 and 1988 (http://www.floralocale.org/page23980) as well as additional tree and butterfly species.
'Alder Ash Beech Bellflower Betony Bird Cherry Bluebell Bramble Bugle Caucasian Wing Nut Columbine Cow Parsley Crab Apple Crack Willow Cuckoo-flower Enchanter’s Nightshade Field Maple Foxglove Garlic Mustard Giant Bellflower Greater Stitchwort St. John’s-wort Hawthorn Hazel Hedge Bedstraw Hedge Woundwort Hornbeam Ivy Lords-and-Ladies Nettle Oak Orange Tip Ornamental Pear Oxlip Pignut Primrose Ramsons Red Campion Ringlet Rowan Scots Pine Small Blue Speckled Wood Stone Parsley Swedish Whitebeam Sweet Violet Upright Hedge-parsley Wall Brown Wild Cherry Wood Avens Wood Sage Woodruff Yellow Archangel and Yew.'
An approximation of the deep red colour of eyes closed against bright light.
Mirabeau Bridge by Guillaume Apollinaire. Part of an ongoing series.
A desk lamp turned on and then off, then the footage reversed.
Colour test. Full series here.
Well was commissioned by Blinc Digital Arts Festival. The brief required a video work for projection onto the exterior wall of the World Heritage listed Conway Castle using projection mapping technology. The one technological requisite was to avoid using too much white, as light coloured videos function just like normal lights when projected onto walls.
With ropes and safety ropes a camera was lowered down to the bottom of the castle’s 91ft well. The camera was then slowly raised back up. The resulting film comprised one single shot of a blue aperture gradually getting larger and larger. When the camera reaches the top the bright daylight blows out the camera's auto-exposure function, the image dissolves into white, and with it the film disappears into the castle walls.
The work was conceived of as at once an illustration of Plato’s cave - emerging from the darkness into the reality of the material foundations of the film’s presentation - and an embodiment of Heidegger’s Being-Towards-Death - the work’s raison, it’s orientation, always and throughout in line with it’s own dissolution.
CODING OF STILL PICTURES
Banding artifacts produced by JPEG compression.
“A WORK COMPOSED OF ONLINE REFERENCES TO THE WORK ITSELF”
Filmed on the top of a glacier in Iceland. The perspective of the shot prohibits the viewer from discerning the direction that the figures walk in, so that they remain in a constant state of appearance and disappearance.
An approximation of the black produced by an LCD video projector.
Speed boat scene, or train window filmed through water bottle.
KLAAR - DAWN HILLS
Music video made by recording the surface of a DVD.
CROSSING, POINT, JUNCTION
A small section of track was filmed with two cameras. The images were then superimposed to give the illusion of two different tracks. Depending on the angles of the cameras the tracks would overlap in different ways. Various compositions were constructed to imitate different types of track section: diamond crossings, junctions, points. The model train then runs across this new landscape, moving in and out of its own refection.
Image of a Welsh mountain. Full sequence here.
A partial reconstruction of the reported apparitions and miracle at Fatima, Portugal in 1917.
An experiment into the effects of pointing a camera directly at the sun for a protracted period.
A swan glides into frame, the camera reacts to the white of its feathers and lowers the exposure, so that the lake and surrounding trees fall into darkness. A relationship between the swan and its environment is constructed and mediated by the camera’s auto exposure function.