I have repainted the corner of my studio in such a way that on black-and-white negative it appeared as a positive image.
The opening shots will show the segmented structure of the radiator from close up; then, through the continuing, slow movement of the zoom, the picture field expands.
However, by zooming out more and rolling back with the camera, the view continues to expand and the unpainted details appear on the screen, a moment of incomprehension and confusion follows, as all these details will show up in the negative.
What has hitherto been a series of plainly obvious pictures is suddenly rendered totally incomprehensible by the negative space enveloping the studio corner.
The zooming stops and the film slowly fades out into color. Further confusion arises, as every detail in the picture, which has previously been in the negative, is now transposed into the positive, and the studio corner, which up till then looked quite normal, now bursts out in colors that are not even remotely reminiscent of the real spatial relations.
The camera slowly zooms in on the corner and stops at the position where only the painted segment of reality is visible.
The images are followed by the humming sound of the generators of lamps and ventilator.
The combination of manipulated and unmanipulated scenes in both color and in a black-and-white negative image creates confusion between what is real and unreal in this scene and in a broader sense, raises questions regarding the representation of reality.
In general visual representation it addresses such problems as the optical illusions concerning the information and communication methods incorporated in images; the dichotomy of the real sight and its optical imaging; and the aesthetic approach to pictures.
In the age of digital pictures, we have come a long way from the black-and-white relations of analogue images, even though the latter has left a deep mark on our ideas about picture.