Videotape, 15:10 minutes, Color & B/W, Stereo, sound collaboration with Christopher Wargin and Lucien Vector. (c)1985.
Based on a 4 channel video installation, "QUESTIONS TO ANOTHER NATION", (c)1983.
A departure from the purely personal as source and inspiration, and an evolution into more complex forms. I began to work at the threshold of perception, exploring how quickly I could change images and still register in the mind's eye.
Working with the depth of the video camera within shots, I define an aesthetic of video apart from cinema.
Questions To Another Nation is a four channel work, with four channel sound. The four videotapes are meant to be seen simultaneously, with images, themes, and questions engaged in a provocative debate from monitor to monitor. Within this piece, I started to compose images "within" the frame as well through the use of image processing, montage, and computer graphic animations. I worked with images to see how much time the viewer needs to recognize/perceive moving and still images/combinations of images/ and incongruities of images. I also used processed and computer (digital) sound to expand the limits of perception as well. The content of the piece also dealt with memory and retrieving memories. If the process of communication requires the existence of shared memories to work, then we must explore these shared images/ gestures/symbols/pictures for use beyond the level of verbal language.
One motif in Rogala's art is the gestural self-portrait. He places a colored rectangle in front of his face. Does the rectangle hide or shield him? Posed in his modern mask, Rogala acknowledges both a desire to be seen and a distrust of surfaces. Suddenly his hand slices the landscape."The essence of communication is often gesture."
~Chris Straayer, VIDEO TAPE REVIEW, Video Data Bank, USA 1986
Rogala's art tactfully balances between personal and metaphorical positionings. His text, projected on the screen in segments of both video and slide presentations, is autobiographical, but not spoken. He seeks to communicate, but avoids didacticism. The essence of conversation is often gestures. He wants us to know him, but knows that ultimately we cannot. This tension produces highly charged images that erupt into connotation. Camera movement in Rogala's tapes is expressionistic and involving. Punctuated by autobiographical notes, the show progresses quickly through superimpositions, dissolves, and changing aspects. Sweeping sideways over the audience, words and other images occasionally fall on a head or shoulder. The messages are subtle and the energy is fresh. Rogala's images are unique and stunning. The pace is quick, the sound unusual.
~Chris Straayer, READER, Chicago, 1984
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