Video (color, silent); 3:40 min.
Three black-and-white video cameras and Dave Jones prototype modules (analog-to-digital converter, digital-to-analog converter, bit switch, frame buffer, comparators with outline generators, variable hard/soft keyers, color field generators, output amplifier)
Objects from the artist’s studio (hammer, cathode ray tube, circuit board rack, chair, clip light) constitute the subjects for a series of short sequences in which a single object moves through a series of overlapping transformations. These are electronically altered in such a way that their coloration and contours continuously morph. As the transparent images are superimposed one upon the other and faded in and out, they become slightly displaced, giving the impression that the objects are “wandering” across the image plane. In some sequences, the contours and colors of the objects dissociate, or newly arising color fields spread across the pictorial surface. The superimpositions and cross-dissolves result in a minimal amount of action, consistent with the ‘destinations’ implied in the work’s title. As in Mirror Road, Bathing, and Windows, the artist uses images of everyday objects together with image processing devices to explore the malleability of electronic colors and image density.
Gary Hill has said of this work, “Following Windows, I was still looking for a vehicle to make sense out of a substantial number of circuits I’d spent way too many hours building with Dave Jones’ oversight. ‘Real time’ seemed so integral to the process that the actual image/object was almost a by-product—very much secondary to the ‘verb’ of transformation taking place ‘between.’ The focus was on what was happening; what kind of manipulation/processing took the pixels from one representation to another. As in so many cases, using what was at hand—what was around me—was the only way to keep it ‘live.’”
Quasha, George and Charles Stein. An Art of Limina: Gary Hill’s Works and Writings. Barcelona: Ediciones Polígrafa, 2009, p. 587.