Small cine-sculptures. Made from found Brooklyn historic objects (decommissioned), micro projectors, optics, plexiglass, vellum and old tripod legs.
Artist: Peter Norrman
Sound: Peter Norrman/Christina Campanella
My first ideas for this project were ideas of the decommissioned airport as the Auditorium and Cinematic Space. Or, the Airport as An Image Maker.
I asked myself: How does the airport retain images? How can I think about the airport as a Projector? An Identifier? A fleeting and transient Image Maker (of x-rays, visitors badges, travelers snapshots). The airport both connects and projects stories. It is both the beginning and the end of an event.
The more I thought of a large scale response to my questions, the more I was drawn to something very small. This seemed to resonate with the transitoriness of airports. The transient gesture as a small gesture.
As I further examined my response to the site I was drawn to ideas around short durational time (jetlag and my 2 day visit from Brooklyn), the space as an 'archeological site' and my findings while digging through left-behind electronic trash (digital artifacts). Drawing from ideas around 2,976 found small jpegs of airport visitors in the 90s (all less than 200k), of identity and identification, and the site as a cinematic apparatus I am creating 3-5 cine-sculptures made from parts that will all travel with me from Brooklyn.
The work will further touch upon: ideas of leaving/returning, bodies in motion, Brooklyn immigration and decommissioned spaces. In addition each sculpture is an apparatus in itself (old reconfigured technology, micro projectors) and draw from ideas around the airport as a cinematic apparatus: taking photos (eyescans, ID cards), non-recorded events (x-ray), global media culture (tv-screens), stories (visitors, workers), and training and how-to videos (repeated practicalities).
The ultimate project is a culmination of architectural archeology and experimental cinema.