CAROLE KIM direction/video/hand-sewn scrim
KAORU MANSOUR hand-sewn scrim
ODEYA NINI vocals
JOE BERARDI percussion
BRENDA BYNUM live drawing/hand carved rubbings
JAMES GRIFFITH live drawing
Folly Bowl Outdoor Amphitheatre, Altadena, CA
THREADING is a performance-based video installation that furthers Carole Kim's interest in sculpturally dimensional screen environments. This piece was inspired by instances of interpreting imaging processes to decipher form. The first is rooted in the recent discovery of a lost civilization in particularly inaccessible regions of the rainforests of Central America. The targeted areas were initially identified based on subtle indications of possible manmade forms within satellite images. Through the subsequent use of light detection technology (LiDAR) 125,000 laser pulses a second were shot from a plane down to the rainforest canopy...99 percent of which gets reflected off the leaves. But there are tiny gaps in the canopy where that one percent can reach the ground, bounce off and go back up to the plane. With massive software processing, they're able to remove all the reflections from leaves, leaving only the imaging of the landscape at ground level. These laser mappings revealed thousands of acres of newly discovered pyramids, structures, buildings, plazas, terracing and roads. They are scheduled to drop in to explore these sites in early 2014.
'Threading' is also a scientific term referring to protein structure prediction based on its amino acid sequence. Protein threading predicts the three-dimensional structure of a protein sequence by threading it through known structures and calculating its energy. This process is particularly useful in medicine, biotechnology and theoretical chemistry, diagrams of which greatly informed the layer of scrim designed and sewn by Kaoru Mansour.
In these references, Carole Kim is interested in the layers of imaging processes, deciphering data, and emergent structures. What at first appears to be a flat screen when projected upon from the front, gradually reveals great depth and complexity as the rear projection becomes activated. The act of live drawing reveals hidden layers of drawing on the hand-sewn scrims which become illuminated by the projected light while casting shadows and moving image onto the frontmost layer. In the middle section the sound acts as the engine behind the video as new forms attempt to take shape. And lastly, both the gestural and the topographical merge in an abstracted language where emergent structures struggle to persist while subjected to an at once erosive and generative process.
Part I: Labor of the Hands (rubbings of carved blocks by Brenda Bynum)
Part II: Canopy
Part III: Laser Shower
Part IV: Hidden Folds + Structures