A still from Family Fortunes, Video
A still from How Are You–I Am Alright, Video Installation
Each of the video pieces in this installation is created using approximately 4000 still images ordered on a timeline. Photographic fragmentation is inherent to this way of creating the movement illusion. This is also a process of literally constructing movements (using fractions of seconds as raw material) rather than only sequencing them–as in case of digital video capture and editing. In its formation, the still image sequence partially assumes the temporal excess of film and yet preserves the contemplative stillness of photography. On the cusp of these media, a sequence flickers in its own creative space. Also through fragmentation and indefinite looping of this dialogue one can experience the emotional fragility of the human condition that we are often oblivious to in real life.
repetition. He mentions: “Already Nietzsche has stated that the only possibility for imagining the infinite after the death of God, after the end of transcendence, is to be found in the eternal return of the same. And George Bataille thematized the repetitive excess of time, the unproductive waste of time, as the only possibility of escape from the modern ideology of progress.”1 I perceive my video
The conceptual foundation for my video loops is located in Boris Groys’ analysis of the
1. Boris Groys, Going Public, (Berlin: Sternberg Grant Petrey Press, 2010), 93, 94.
works to be attempts to subvert the modernist rejection of the contemplative engagement with the artwork, and also contest the dynamic character associated with the moving image. More of my video work can be found at: www.aabhaa.com
Notes:
15