I have worked with moving images for the entire time that I have also named myself as an artist. For as long as I have defined myself as an artist, I have worked with the moving image.
For ease of exhibition, an artist working in moving images ALWAYS works with loops, even for a work that has a clearly defined beginning and end or sits amongst a program of other pieces. As a viewer you come in, usually part way through the cycle, you watch, and if you like enough what you see, you stay to see the beginning again.
These days my loops are short (a matter of seconds). My loops are so brief, that to place them in a stream amongst other works would be like dropping a pin into the ocean. They play alone, into infinity (or until a switch is triggered to shutdown) each as their own screen or projection. While they are still made of more ineffable substance – light and electricity – they now have an objectness too in their obstinate permanency or at least an appearance of same. I am fascinated by how such a short sequence (no time at all) becomes infinity (all time).
These works are video self-portraits, now augmented by handpainted animation that is free in form but draws close against, around and over the figure as if drawn by a force. I refer to two animation-industry terms often:
Rotoscope – initially a machine for (and later simply the term for the process of) tracing over live action to achieve realistic, filmic motion, usually of the human or animal body. I use a technique that is very close to rotoscope except that it’s purpose is to tie animation to and augment the human form rather than to emulate it. In animated + video form the paint buzzes and fizzes and crackles around the figure like an electric aura. Thought, as a subject and in analogy is reduced to pure energy.
Boil – a term that describes the effect of misregistration of line and form in animation. It’s a quality that gives away the handwrought animated image as much as it lends charm. In my work all animation is handwrought and partly out of control. I tend to work automatically and somewhat blind; only stitching the painted frames together to see the motion after all the painted work is completed. So the boil is cultivated through this blindness to a degree.
So between them, the studied rotoscope and the blind boil combine to depict energies emergent or inseperable from the human form. Haunt, emotions, thought, cognition all in varying degrees of harness or surrender. It is a reconsideration of the videographic image. An imagining of everything unseen, but held within the image frame.
The works could be considered an exploration of my own haunting (through artworks) by my own image. I have always made self-portraits and I have worked with moving images for the entire time that I have also named myself as an artist. For as long as I have defined myself as an artist, I have worked with the moving image.