Projection In Isolation

This video poem is an auto-didactic performance piece, executed in the confines of a shack where the artist contemplates the vices and virtues of isolation.

At moments when isolation seemingly oppresses all sense of being, man always finds the serene often unpleasant. And how does one deal with ‘orders of confinement? Is isolation possible in company of memories peopled by a collective fear, an existential dread of the unknowable futures?

Why Projections

The pandemic has undeniably provided humanity an opportunity for reflection, and dire projections for our collective future if we continue the plunder and pillage of the planet remain unavoidable.

As a proverbial Rite Of Passage, the period also affords a silence that is unprecedented for many of us, a semblance of calm for pondering lessons that we have otherwise ignored.

Having adapted to the disruption of my everyday routines, this absence of formless hollering of pedestrians and machines, I find my inner voices more articulated without the clutter of monotonous everyday existence.

With abundant time to surf the web for art and films, I am confronted by an ever-growing number of artists and filmmakers focusing on the interrelationship between their media and film/video, with the intention of expanding the experience and potential of both.

Some of the experiments with the projected image in installation and sculptural contexts continue to reveal that the parameters and possibilities of this relationship also have deep psychological and emotional meaning.

And working from a time-based medium of video myself, I have found that approaching notions of presentation of my work quite challenging, in that often gallery spaces are traditionally allocated static 2-dimensional art, without motion and other attributes of dynamism.

I am always confronted by questions of dismantling of linear perspective and notions of a fixed position for the viewer has to take in response to artworks being perceived.

I use the word ‘perceive’, which I find much more holistic in the sense of encapsulating the experience of being ‘arrested by the beauty of art’.

It implies that as dependent of all sensory portals allocated the human physiognomy.

Admittedly, this phenomenological experience my moving images in relationship to architectural space of a shack is quite an enticing idea, where the shack, being my gallery space, is transformed into a perceptual field for more creative output.

My fascination with the screen is part impetus of course, and understanding the limitations and artificiality of projections by their very nature, but another curiosity about the projections is the method of experiments with multiple perspectives.

As I observe those occasional movements and slow tempo of the original video poem morphing and mutating with each new projection, I often ask myself if the three projections in the series are engaged in a sort of dialogue.

The timing of this lockdown is therefore quite unusually germane, because of the extensive crossover research it has allowed me regarding the series which in itself a hybrid cognitive project that has many more layers to shed.

Therefore, this series has become a type of controlled re-visitation of memory, yielding variant vantage points with no inkling of similitude.

They also project their own conflict with the linearity of time, while allowing me to project my own method of remembering dis-membered time.