Because of the way film projection is tied up with the technology that produces it; projector, film, beam, screen, space, we tend to forget that a projection is the throwing out to elsewhere of an image, the direction, or redirection of something already existing. Projection is also the psychological process of imputing, of attributing to another, attitudes or dispositions. Some of our work explores this also. Films are invariably made according to a set of prior ideas that inform their structure. They are then shown in a neutral space –the cinema- that treats all films uniformly.

Here, by contrast, the projection space determines the concepts and form of the film. But this piece is more than site specific. The loose fit between work and site implied by the notion of a work’s “responding” to a space is here replaced by making the space/site a rigorous determinant of the work’s entire structure, up to and seamlessly including its space. The work thus breaks down the distinction between work and its space of presentation. The physical film strip defines the shape / volume of the actual space in which it is displayed. The planes are clearly defined and mapped out in both space and time, from the film plane as the filmstrip passes by the projector gate to the image bearing light resting on the surface of the photograph which stands in as the screen, to the surface of the filmstrip as it passes in front of the light bulb hanging in the space to the double projection of the shadow of the illuminated screen hitting the back wall. mirza-butler.net/