[The following movie clips are short random sections which are highly compressed in order to post them on the web. The actual size and length is posted with the clip.
Whilst they can be shown as individual pieces in selected venues they, ideally, should be seen projected as installations where they would be looped so that the viewer could see them at their own pace and repeatedly if they wish.]
“shadowfield” consist of three short discrete parts which can either be shown separately or as a linked sequence. Each is 3 minutes 40 secs long. Its images (as the title suggests) are derived from shadows of objects which are concealed from the viewer.
These movies are silent.
HD 1280 x 720 • Length: pt 1 – 3′ 40″ / pt 2 – 3′ 40″ / pt 3 – 3′ 40″ 2009
Two forms move against a terrain which is of a similar origin to themselves whilst another form of an obviously different source is also present creating a state of tension in their interaction as they slowly circumnavigate each other.
The sound element driving this movement is derived from electric chisels which could have been used used to fashion the indigenous forms in a less virtual environment?
HD 1280 x 720 • Length: 7′ 34″ 2009
this is a very slow, nearly monochromatic, piece with a sound-scape which sonically inverts the vertical movement of the images.
HD 1280 x 720 • Length: 13′ 09″ 2009
“Peyps’ Pipe” continues the series of 3D animations,
Ian Wilcock once again provides an electronic soundtrack which compliments the images whilst emphasising the movement within it.
The visual material for this piece concentrates on a hole; a viewpoint into what seems a richer and intensely vibrant environment that the viewer never really gets to observe. As a (token) consolation, an elegant disc emerges and briefly taunts the viewer with reflections and echoes of the vibrant world beyond.
The piece casts the viewer as a voyeur; an observer whose entire experience must, of necessity, be on the one hand vicarious and unsatisfying, yet also pervaded by a knowledge of the possibility of something better. Perception itself is cast as a subversive drama suffused with the constant awareness of the impossibility of satisfaction in the here and now together with an unshakable knowledge that the objects of desire are both tangible and near at hand. I.W.
HD 1280 x 720 • Length: 10′ 55 “ 2008
“jonah” is my second collaboration with the writer Brian Marley.
Said Jonah of his ordeal: “The Holy books got it all wrong, WRONG WRONG WRONG in every particular!” Mindful of this, Andrew Greaves and I offer alternative perspectives on Jonah’s experience, hoping to embrace a greater truth, which, as Jonah grudgingly concedes, we may have done, “even if only inadvertently”. BM
HD 1280 x 720 Length 9 mins. 28 secs.
is a 8′ 35″ 3D digital animation made in 2006.
It is an example of my preoccupation with synthetic, formal elements which co-exist within a natural landscape. These forms contrast with their environment and create ambiguous scale and functional references. Are they signifiers of inhabitation past or present and is the landscape terrestrial?
Size 1280 x 720 HD
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is a 12′ 11″ 3D animated movie made in 2007.
“simmentalTide” takes as its starting point my recent move to the British countryside and seeing
with fresh eyes the spectacle of domestic animals grazing.
The resultant photographic images are combined with 3D animated forms to construct this work.
Original size 1280 x 720 HD
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is a 5′ 43″ 3D animation made in 2007.
A fleshy form moves (dances) to a distorted tune.
Size 1280 x 720 PAL HD
is a 35′ 50″ 3D animation made in 2006.
“luxflux”, as the title denotes, consists of a series of virtual animated environments lit by changing light sources. Some are lit by white light whilst others lights are coloured. The lights describe the environments as well as being perceived as forms themselves.
Size 960 x 720 PAL
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a 12′ 34″ 3D animation completed in 2006.
Sound: Ian Willcock
A complex abstract form, at once metallic and machined yet also disturbingly organic (particularly in the multiple profiles it presents to the viewer), moves purposefully within a three dimensional reflective environment. This is not an empty environment, rather the whole piece is ominous, populated with objects unseen except through their reflections. We have a sense of being in a corner, perhaps a temporarily safe corner, of a much larger world extending in all directions from the one we are observing.
The ‘action’ involves the interplay and penetration by the object with/of the defining limits of the environment; with highly reflective, yet paradoxically fluid representations of the way conventional (and virtual) space is mapped and bounded. As the object immerses itself in the fabric of dimensionality, it questions and tests the concepts of empirical, measured certainty; it exposes the essential propensity for liminality in even the most stable of systems. That there is a feeling that at any moment the out-side could in-trude is perhaps only to be expected… I. W.
Size 1280 x 720 HD