Alleys of Damansara Jaya
Video projection (with Tessa Wetherill)
Single-channel video (PAL); 2008 (work-in-progress)
Alleys of Damansara Jaya is a companion piece to a series of photographic stills.
The effect employs a very basic camera ‘trick’ which refers back to George Mélies-era cinema (split-frames), but the result is a convincing image of each of us independently ‘suspended’ in space.
The sequences were filmed during what is proverbially known in parts of Malaysia as ‘the Forbidden Hour’ – the transitory and brief period of dusk between night and day, light and dark, when restless spirits awaken, bats begin their hunt, and dreams take on new and more volatile meanings. The ‘Forbidden Hour’ signals the end of ‘rational’ activities and introduces the arrival of night, the awakening of the unconscious, and the rousing of the spirit realm.
Untitled (Five:00) is an assemblage piece which employs footage from dozens of films to mine fiercely recognizable tropes of popular cinema.
A 1962 hit, Peggy Lee's 'Is That All There Is?' is run in increasingly distorted fragments to underscore the song's themes of traversing continual plateaus of disappointment, devolving finally into lumbering, valium-laced entropy and breakdown.
Untitled (Five:00) is a discrete part of a larger work-in-progress, tentatively called 'One:00 to Ten:00', a series of video works ranging in duration from exactly one to ten minutes.
with Tessa Wetherill and Nazim Esa, 2005
Single-channel video, 6:12 min loop, color
It's OK is a collaborative piece commissioned/curated by Nani Kahar for the Hannover Film Festival, and which won the MVA (Malaysian Video Awards) Gold for Experimental Film in 2005.
In August of 2005, Tessa and I moved to the suburb of Damansara Jaya, Malaysia. The project is our response to continual late night ramblings through the neighbourhood, during certain 'dead' hours when both nothing and everything seems to happen.
It's OK was shot entirely with digital stills. No video or moving film cameras were used. The result is a circular narrative that plays on the eye, the frame and the association of ideas without the use of sequential edits.