Capture

Capture

 

Guest curated by Gareth Evans.

Jamie Jenkinson, Sasha Litvintseva, You Qi.

Guest artist: Cordelia Swan.

 

 

In these works formal choices highlight how image is physically restrained within the frame, mirroring our own visual perspective and the frames of other image producing media - cinema, film photography and digital photography. Personal histories are mixed among broader concerns of nostalgia, familiarity and cultural memory helping to explore the ways sentient experience and awareness is translated in the production and consumption of images.

 

Sasha Litvintseva’s Immortality, Home & Elsewhere weaves around a theory of immortality based on the premise that our lives are a summation of all the information we consume and process, gleaned from existing theories from a number of scientific disciplines, the film draws on her personal history’s brush with a global nuclear disaster, to precipitate a meditation on the potential role of an individual in the imaginary film/event of our individual or collective death: as a protagonist, or as an extra appearing in a handful of frames at the very moment of their death.

The (im)possibility of a singular setting for such an event is at question, and there is a temporal flattening accompanying the spatial flattening, both as a collapse of history implied by the end of potential futures, but also the flattening of time implicit in our fascination with ruin.

The uncanny familiarity we gain with spaces through mainstream cinema, which is itself becoming increasingly domesticated, is not unlike what is made possible with street-view. By releasing locations such as the pyramids and the Taj Mahal, themselves monumental attempts at immortality, street-view is declaring itself as a competitor to tourism, tourism itself a chase of experience and self-documentation.

The virtual experience may not quite compare to the real thing yet, but the mediated virtual experience carries the same indexical value as the mediated real thing, being one step removed from the physical world. The question of authenticity in terms of cinematic authorship as well as consumption remains to be answered.

If you could experience everything that ever was, would you still be afraid?

 

Jamie Jenkinson produces much of his work on an iPhone (the worlds most popular camera). He utilises the cameras in-built features and recording process - the medium within the medium - to produce abstracted images through unconventional recording methods without post-production. His medium specific videos discuss the spectators consumerist understanding of videos hyperreal image, as the cameras recording process imitates and distorts form and structure into performative, gestural interactions of camera, artist and spectator.

Shaky-Cam is a recording method he uses to disrupt consumer cameras in-built ‘steady-cam’. By moving the camera rapidly new perceptions of motion, form and shape, illusory edits and abstraction occur. Using this process in certain environments causes further interaction with light, human-made and natural form, repetition and perspective where aesthetic judgement and composition form new works. The images likeness to reality, dipping in and out or representation and abstraction question the honesty of video images in contemporary society.