Concealment

Departing Shadow examines the forming of a connection and its failure. The interaction and attempted dialogue between a space, a performer and a camera. 

A portrait of a figure standing towards a painterly seascape becomes a portrait of the photograph itself, its borders, surfaces and meanings.

A Study of a human figure in a room.

Sheet No4 examines the outlines and borders of a photograph and a human being. Sheet refers to a contact sheet; a sketch of a photograph, where different options and outlines are visible.

Time, transience, and presence through interpretation, repetition, and imitation. 

A speeding moment in time, a blink of an eye, when the inner and outer selves reveal themselves simultaneously.

From detail to landscape opens up a figure in the middle of a wintery landscape. The day turns into night, turning the human figure into a silhouette, a statue.

A composition of a human figure placed in a challenging position. The impossibility of the composition is discharged into movement and sound, into a stream towards the free form of the performer, camera and image.

Moving image is framed and re-framed like the process of capturing still photographs, exploring the relationship between the still and the moving image.

The work examines the length of a thought, the length of a moment. Through repetition and rhythm, the piece builds a sense of a narrative, distance and closeness at the same time. We are looking at a figure in an urban landscape, soon to be dislocated. The Gaze abandons and re-draws the images. Perception grapples with distances; between the figure and its landscape, between the viewer and the piece itself.

No Dot on the I questions specificity, what makes up the essence of something, where a thing turns into something else — pushing against the edges of signs, binaries, categories.

Presence and absence, exit is an entrance

Commissioned by MoMA PS1 and Creative Time for MTV’s Art Breaks series

The material of the piece is a found image—a photograph shot on a film positive in the 1950s, with faded colors and a scratched surface. The work directs the gaze away from the subject matter of the photograph and focuses intently on the edges of the image. It hovers beside the subject, looks past it, while a new image is created.

Created in collaboration with the New York beatboxers Kid Lucky and Shockwave, and the spoken word artist Vocab, “Beatbox” portrays sound and movement as self-expressive navigational tools. In the style of city symphonies, the beatboxers have created the entire soundtrack of the film by interpreting and imitating the sounds of their surroundings. A mysterious spotlight shows the urban space as a stage where, following the words of Vocab, “every street corner has the ability to tell a thousand stories”.

The gaze slides back and forth with the camera along the edges of the image. It seems to be searching for a way out but gets stuck in its repetitive motion, like a thought that has become fixed in place.