Description

The materialisation of conventional, Western film is based on a shooting script. The fragmented organisation of shots, once collated, communicate a narrative and a passage of time. The elements of space, characterisation, narrative and temporality are negotiated by director and camera and the techniques of this organisation, no matter how divergent, produce an established aesthetic vocabulary recognised by its audience. For instance, the close-up of a subject on screen will communicate-depending on the fictional context-the intensification of a specific emotion. The relationship of the film camera to the body and space and, further, the arrangements of these camera-body, camera-space articulations to each other is the language or system that my practice appropriates.

'Fourth Wall' expands on other sensory aspects of cinema, drawing on the very specific forms of spectatorship created by a darkened space and an illuminated moving image. Projected or even transmitted televisual imagery of the moving image is purely optical and unbound by the materiality of a photographic print. The appearance of a suspended image and its reflected duplications in 'Fourth Wall' is a simulation of this intangibility.