Wednesday, 15 June 2016

Corpse - Extended collage

In the video below my earlier short animations have been overlaid to create a longer composition. The result is not polished, the image jolts and constantly fluctuates, the overlay of stop frame clips speeds up the rate of change. Jarring, the eye is unable to fix or rest. The image also breaks down and becomes progressively pixelated in the second half of the sequence.

LLOYD EVANS - Corpse extended collage from Lloyd Evans on Vimeo.

I like the flux and speed of this clip, it speaks of a quickening of time or the present. Nature moves at an unnatural speed, the evolution of a forest over hundreds of years condensed to a three minute time lapse video.

I began to consider how this quickened time could be juxtaposed with real time. This would open a reading of 'shadow-time' where two time frames are experienced simultaneously. My first thought was of a second slower animation, however after shooting some video of landscapes for another project I started to think that using a real landscape in realtime may heighten the otherness of the animation.

In the test video below the animation has been projected from the front onto a paper screen, while the video of the forest has been projected from behind. by using a more powerful projector for the front animation at its brightest settings the animation obscures/masks the second back projection. This is then only revealed when the viewer moves between the front projector and the image.

LLOYD EVANS - Corpse double projection test from Lloyd Evans on Vimeo.

The viewers participation is needed to reveal the full extent of the work, the viewers movement around the image therefore alters the nature and experience of it. It becomes impossible to stand in front of the work to consider it without also being part of it.

Encouraging the viewer to walk in front of the projector may be an issue to solve, in earlier work at Letheringham lodge my installation had been designed so that the viewer could circle but was mostly only viewed from its perceived front. Moving in front of a projector is something which the viewer may be reluctant to do. Therefore if this idea is developed how the movements of the viewer can be led/guided must be considered.

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