The inherent duality of this conceptual phenomenon, the common origin of “nothing” and “everything”, provides the starting point for Tautology.
In the initial scene of the film, the images that are projected on three walls of a room issue from three digital projectors, rather than one. The increased number of projectors is in reference to the spatial dimension bounded by planes, as well as to the visual and spatial relationships accumulated by the recordings. By virtue of the fact that each of the walls shown in the film also serves as a projection surface, and as a consequence of our ability to shift our gaze from one projection surface to the next, a more complex relationship develops around the connection between space, picture and time. The illusion of the encompassing space filters into the encoded white squares, creating a tautological sign, in which the image of the film shows the place of the recorded image in space. A co-ordinate system marking the relations between picture and space gradually develops, which, through the showing of newer and newer recordings, multiplies the repeated projection of movement resulting from the repeated projection of recordings surveying the picture and the surrounding space. The projection of the projections’ projection is shown in a complex system produced by repetition, as well as by the movements described in it. The image moves in the space – in the space of the projection of always newly recorded recordings. This accumulative process refers back to the common origin of representation and the impossibility of representation. Space affects the picture, and vice versa; the vectors re-generate each other.