Le CouveNt Project Description
How do we as individuals or communities affect the places and spaces that we inhabit? And how do our daily surroundings, particularly our homes, neighborhoods or cities, influence us? Through my practice I aim to accentuate and document the consequences of socio-political trans- formations in architecture and city planning as well as the communities who occupy them.
My overall artistic approach is situated between anthropology, urbanism, creative geography and art, the four avenues that allow me to analyze the relationship between time, memory, nostalgia and photography and their combined effects on our perception of familiar places and daily en- vironments. The photo-filmic projection-environments I create are an amalgamation of found amateur and/or archival photography, experimental and expanded cinema as well as architec- tural site specific installations, resulting in immersive projection spaces, at the same time real and ephemeral. These works are aimed to investigate how the photographic images can affect our perception of the projected and the projection space as well as capture its transformation by bringing together multiple time frames of the same location to amplify the experience of the present, document the spatial metamorphosis and echo the nostalgia of the past.
In my work I am very interested in the idea of site specificity, but not only as final installation, but also at the production and research stages. Therefore I am very excited to be a part of Le CouveNt’s fellowship, as it will provide a unique opportunity to to engage, observe and document a histori- cal space, at a moment when remnants of past lifestyles and corresponding architecture coexist with future ambitions. Over the duration of my time at Le CouveNt and Auzits, I intend to create a photo-filmic projection-installation that documents my personal perception of the site as well as echoes its transformation from its historical origins as a 17th century convent to the artist hub and the town that houses it today.
During the first three weeks of my stay I will systematically photograph Le CouveNt premises and the immediate surrounding. Through in-camera superimposition I will create a series of continuous photo-slides of spliced together 36 frame rolls of 35mm film, that intertwine the imagery of the historic structures and contemporary architecture into a single horizontally moving photograph. The pseudo-panoramic image (see images 4-6) will be achieved with a manual 35mm SLR camera, the mechanics of which allow me to rewind small portions of film after each shot to superimpose each new scene over a section of the previous one, therefore removing the film frame divisions and dissolving the boundaries between the individual photographs. The frame-less horizontal projection of a seemingly never-ending cityscape is aimed to discourage the audience from focus- ing on a single view and instead experience the space as a complete entity build of accumulated individual scenes which can only be seen in its entirety over time.
The implicit horizontality of vision is reflected not only in the process of photographing, but also in the mechanics of projection. Unlike traditional film which moves vertically through a projec- tor, this panoramic photo-film is projected using a custom-motorized strip-slide projector (also called DiaProjector, see image 2, or included video). One of the most unique features of any strip-slide projector is its lack of a shutter, and therefore a constant stream of light instead of habitual flickering. As a result these photo-films are not projected on the usual stop-and-go basis and the on-screen movement is not an illusion, the projected image directly corresponds to the advancement of film through the gate. The movement of this projection is visible in real time, and therefore highlights the passage of time rather than favor action.