This film transmutes a physical collaged picture I’ve made into a series of filmic stills, fracturing viewing into small slices that gradually reveal a whole, an exercise both in giving and in withholding. The piece began life as two disparate images; a twentieth century black and white publicity postcard of an actress paired in collage with a ‘twin’ sourced from a contemporary fashion magazine.

Sabine Kriebel voiced the opinion photographs are a witness to aging, capturing a moment that’s always past and anticipating the body’s passing.(1) The stillness of photography promotes the notion of death whereas film returns the dead to an appearance of life.(1) Given this, what does my approach deliver? Perhaps it creates a kind of half-life, incapable of animating the dead image in any way but able to animate and capture my viewing perspective as the artist and communicate it more readily and immediately to a willing spectator?

For me, the approach is yet another form of collage; something born out of disparate fragments re-positioned to create something new. However, to some extent, it’s a much more controlling mechanism that the original art work. I can’t control how someone looks at a picture on a wall, but a filmic approach fixes frame, order, and duration. Yes, the viewer may choose not to look at all, but if they do, they are subject to what I dictate.

The approach extends the shift of the raw materials across mediums -- original photograph -- to scanned digital information -- to collaged physical object -- back to photograph -- finally ending in filmic stills. Obviously, there is no reason for the dislocation to stop here -- it could continue endlessly.

My goal is to create a fractured viewing experience that encourages careful looking and is more thought-provoking than simply encountering the still shot that reveals everything at one glance.

1 Sabine Kriebel, ‘Theories of Photography; a short history’, in James Elkins, Photographic Theory, (Abingdon: Routledge, 2007), p.34.

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