HD Video, color, sound, 10’41
In Ancient Greek the word Natura (physis) meant that which is being born, it’s the constant rebirth.
Combined with the curiosity of exploring the classics of Japanese Painting, in particular the theme of Nature (landscapes, trees and plants) which is usually associated with the seasons and time, there was also an interest in the relation between the constant growth of the natural elements and the apparent fixity of human constructions which as Ruy Belo reminds us actually undergo the same cycle of life and death: “Oh, the houses the houses the houses/ the houses are born live and die”.
The intention was to explore the variations of light, focusing specifically on the details of nature in a constant transformation of the space, through the double exposition of images that were reflected in the windows of a greenhouse at the Ajuda Botanical Garden in Lisbon.
The symbiosis between image and sound is complex, especially considering the rate at which the act of listening is being advanced. Elemental to this process is the absence of a conventional narrative which serves to enhance the focus on detail, both visual and audible.
Every object in any locale acts as a filter for all environmental sounds nearby and yet our perception of the places in which we spend time or observe remains entrenched in a narrow, overly romantic tradition. By using a sound source not audible to our naked ear, in this instance that of a tennis court fence resonated by a light breeze recorded with highly sensitive contact microphones, the viewer is able to step outside of the expectations triggered by the visual element. The purpose is not to confuse the viewer but instead to ask the audience to be more than a viewer, to refocus their attention from our visually orientated culture to one that understands the intrinsic qualities of both sound and vision and the interplay between both.
Sound - 'score for a footbridge' (extract) from the album 'portable music - three scores' by Jez riley French (2016)