Can Video Be Poetry?
This confident art of improvised visual choreography does not negate the craft of story as embroidered in tales and myths, idioms and proverbs, but aims to exhume their simplest quality that exists beyond the complicated rituals of speech.
Oral storytelling can transcend certain verbal expression, of course, but video art looks at that which outweighs speech with an imaginative license, but binds oral differences with their similarities into a narrative formulation of visual codes.
These codes and nuances of gradual transformations surely must add to the vitality of the heard, as listening itself is a creative genesis, identity formation as a spoken actuation.
Languages possess traditional phrases, formal or informal, and some include inventions within unconventional formats, and the same is applicable in video language as constructed through montages, gradually drawing attention to intended memorialised meanings.
Abstract images employed in video art production are mere supplementary visualisations that elucidate and explicate the obscure details of a secret language, the conception and perception of these coded words/visual can at times only find meaning expressed through reception.
Even the most turgid and mechanical of languages do find an exuberance within the realm of remixed imagery, giving credence to their inner morbidities and exhilarations.
Although an unconvincing mask of objectivity gives language its prestige, the spoken aught to honour the import of colour and sound by the vestiges of the audio-visual orchestration of video artists, not to be regarded with derision.
An often lamented loss of the abstract in visual interpretations of language and textual language to exactly, is also a predicament that video art grapples with in a variety of innovative ways. Like all archives, text has a longevity and an unalterability that often eludes plasticity, but this should not be an obstacle for the
Narratives punctured by disdain for temporality often decay, and rescue lies with a signed type of communication, where frayed memories conjoin in a thread that bring artistic light to intellectual reinforcements.
What is fiction if not lack of material-scientific proof that something is materially real? How can therefore all mental activities, from meditation to faith, recognition and combination of symbols be but a fiction similar to any simulacrum concocted by the visual artist?
In video art, there is a recurrent trend of questioning, with diffuse reminiscences of events, characters seamlessly switching from protagonists to antagonists, a recycled hearsay compounded with valid though varied perspectives.
And that is its fallible strength, for video in itself is impermanent and its strips mere chemical composition that cannot withstand treasonous time. Therefore, perishability is key to understanding how transience operates within the artistic practice that is well versed in the impermanent.
An art premised on aberrations, expanded histories and chromatic alterations, distortions and noises of elegantly captured memories, sweltering in the heat of projection light, reflected on lucid spaces, yet retaining their alternative recollections.
The passivity of speech, the latency of meaning; but conjoins them but hallucinated images, as if mind were drinking from clouds, these grinding innovations of the cranium are what creates the marvel of communication - a feeling of being understood more than just perceived.
And thus video art become a self-constructed miasma, fractured extracts emerging from a forest of unfamiliar agonies and joys, an afterlife of each expressed syllable growing with the intimacy of an embracing mind.
This power to knit and join the abstract instils pleasure and awe, at times, and like all cacophonies of sound and sight, often the mind feels compacted, smartening the horrid, yet dimly conceiving the immensity of that spectacle being displayed.
In video art, those inscrutable mirages like incoherent fragments of a tale can unveil disquieting sentences anchored in hard earthly language, in a tongue that mirrors human disintegration in a photograph of moving time.
Poetry stakes its claim on relevance and necessity for literary preservation of human impulses, fine art prides itself in similitude and stasis that implies permanence, but both forms are ephemeral.
Each speak to a need to halt their ceaseless pursuit for fluctuations in moods, a desire to feel a wide range of tragedies among the comical occurrences of being.
Yet video art, bestows memory an altered state composed of ghosts of multiple unstable memories, a spectral evidence of mutable reality, superimposed collages that waltz the unpriced streets of the imagination, to create new dolls and monsters, haughty in their expressions and floating beyond familiar linguistic playgrounds.
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