Subjectivity

  1. Anne Sherwood Pundyk 2011. Single-channel video (color, sound), 2:53 min. Projected to 60" height on white wall. From childhood we become attached to objects and imbue them with special qualities such as security, hope, or reassurance. In the same way, as travelers we carry objects such as a St. Christopher charm to bring us safely to our destinations. The small cream pitcher in "Object Classification" propels the day dreams, wishes and memories

    # vimeo.com/27565971 Uploaded 29 Plays / / 0 Comments

  2. Anne Sherwood Pundyk 2010. Single-channel video (color, sound), 6:38 min. Projected to 60" height on white wall. I have slipped live-action, voice-over, and Kafka's short story, "A Report to an Academy," in and around the visual recounting of the making of my painting, "Lindsay." The rational goes something like this: Over (ok -- under) the Hudson River and through the Oranges to the Davis house we go. Jeff knows the way, its raining, Evan's asleep

    # vimeo.com/17864880 Uploaded 208 Plays / / 0 Comments

  3. Anne Sherwood Pundyk 2008. Six-channel video installation (color, sound), 2:22 min. in an ongoing loop. Projected in a grid of two rows of three adapted to fill the available space. An alternate installation adds a pool of water upon which to float the six projectors. Note: The entire footage is linked and edited in this 5:44 min. preview version, but in the installation each of the six 2:22 segments would be looped and projected individually. This

    # vimeo.com/28267597 Uploaded 15 Plays / / 0 Comments

  4. Anne Sherwood Pundyk 2009. Single-channel video (color, sound), 2:43 min. Projected to 60" height on white wall. Music by Lezane Trapani The video component of this suite of artworks borrows from Barthes' idea of punctum (the personally significant detail linking a photograph with its viewer.) The digitally transferred super-8 footage, originally made when I was my daughter, Phoebe's current age, is inter-cut with pictures of her in Paris and Versailles

    # vimeo.com/3427984 Uploaded 481 Plays / / 0 Comments

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    Anne Sherwood Pundyk 2010. Single-channel video (color, silent), 4:10 min. Projected to 60" height on white wall. The simple, deadpan construction of inter-layered stop-action and source images reveals the process of making my painting, "Sharpshooter." Scrolling text blocks, alternating with the images, locates the connection between the artist and her source material. David Shields (http://www.davidshields.com/theWork.html), author of "Reality Hunger,"

    # vimeo.com/12343887 Uploaded 81 Plays / / 0 Comments

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Subjectivity

Created by Anne Sherwood Pundyk

Videos by Anne Sherwood Pundyk
annepundyk.com

My videos mimic, subsume, and expand upon the process of story telling I use as a painter. Core to my work in both media is the importance I place on the validity of the subjective voice. Applying this in my painting practice, I conceive of each work as an organization of my experience – as accessed through the subconscious. One step in putting form to my experiences


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Videos by Anne Sherwood Pundyk
annepundyk.com

My videos mimic, subsume, and expand upon the process of story telling I use as a painter. Core to my work in both media is the importance I place on the validity of the subjective voice. Applying this in my painting practice, I conceive of each work as an organization of my experience – as accessed through the subconscious. One step in putting form to my experiences is the recognition of the sensation of identification with found and taken photographic source material. In another, I translate the selected photographs into overlying, figuratively intended strokes and gestures engaging physical sensation, perception and memory.

Introducing a verbal element to an essentially non-verbal studio process, I have developed several video production techniques by taking cues from my approach to painting. For the footage in “Belize Deleuze,” I identified opportunities to film instinctually while traveling with my husband and son on a trip (during which I was researching and writing about photography.) As a six-channel installation the work replays the interwoven, documentary narratives of each family member as characters interrelating in a foreign, ever-modulating environment.

Core to the “My Altas” videos, sections of stop-action animation document the evolution of a painting in my studio. I include the photographic source material and scrolling blocks of text describing its significance. In so doing, I become a character speaking in first person, observing myself folding life experience into my studio experience. In this video series, live-action footage, musical audio tracks, voice-over and in the case of “My Atlas: Lindsay/A Report to an Academy” the plot and characters from a Kafka short story are added to the painting documentary core.

My video work embodies subjective experience read through time. My paintings do so within a physical object read both as a retracing of steps and as a single gestalt. They are interconnected through the processes I use locate, formulate and tell my stories.

Note: the “My Atlas” single-channel videos are projected at large scale enveloping the viewer and calling attention to the body, as do my paintings. “Belize Deleuze” is a six-channel installation projected to fill the available space in a grid of two rows of three and plays in an ongoing loop. An alternate installation adds a pool of water in which to float the projectors. (As a way to preview the content, all my videos may be viewed here on Vimeo at a smaller scale.)

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