Part of a series of 'Compositional Navigations', using materials sourced via online navigations and hybrid raw materials. These materials are then reedited with art historical preoccupations to form relational tensions in compositional form, a synthesis of imagery.
Characters are placed into a simulated environment created from the materials sourced via these online navigations, the world of others.
The males are small, academic and distant.
The females central, controlled, astute and tragic.
The simulated environments are still and period, distant and illusionary, full of antiquity and technology.
The sound creates movement, space and narrative in and around the relative stillness of the characters and environment. This is a world happening without the interaction, or relational connection of its characters.
Set within interiors. Virtually empty spaces, de-domesticated settings. Derelicts but not ruins, virtual hermetical spaces.
They borrow from painting especially that of Paul Delvaux and the forced quattrocento perspectives of the northern renaissance. The framing is set to a portrait to form a vertical line of visual framing by the viewer and prolong the subjective glance of narration.
(Obviously what’s represented on screen is typically perceived as a family. A child, a women and a man. The setting also seems to be a room possibly within a house with a garden. These of course are the obvious reading. Signs or relationships between the selected forms presented to the viewer. In this sense I would think it to be witty if a little cynical. And also overly long and of course flat once the child has disappeared, BUT, none of the above were my intention.
The Room has more to do with a dematerialised lifestyle among a mass of other ambiguous narratives. Other than the humans present everything else has been taken from others work (still and moving), representing in a sense the world around us of others (almost literally). The humans, other than the glance-narrative (family), really have no connections (but of course these connections are an interpretation of a composition of signs but not in the authorship). I am hoping that the duration will begin to disintegrate this initial presumption and that the image would kind of begin to fragment into separate frames insinuating their connected yet unconnected relationships as forms). ☺
Please listen to this with headphones, it has been created with sounds that may be too low for your speakers, as it was created especially for headphone use.
My thanks to Caroline Seaman for drinking lots of tea under 800 watt bulbs and Filipa Machado for reading Fernando Pessoa' 'Magnificat' so wonderfully. ☺☺☺ And of course the mighty amazing Luke Anthony Rose, aged 3