ANGELA EAMES shows 5 infinivid works in the context of a lifetime’s practice…
NEXUS
NEXUS, (Ref: CORNER/SPACE) a dual projection abutted at a right-angle, cycling through RGB. Nasturtium petals expand on screen, mutating
through colour and scale. The viewer’s gaze is lured into candescent colour.
Corner/Space related works.
Vitruvian Woman – 16 positions, 16 photographs…
Painting in three-dimensional space…
Daisyworld Installation, wallpapering the gallery space with black and white daisies…
SPLIT
SPLIT, (Ref: CORNER) a dual projection abutted at a right-angle, cycling through RGB. Lily petals expand on screen, mutating through colour and
scale. The viewer’s gaze is lured into empty space – a penumbra.
Corner related works.
Weaving canvas around the corner of the studio…
Vitruvian Woman as animation…
From H60” x W36” to H36” x W60” – a parabola…
ESPRIT
ESPRIT, (Ref: LAYER) a silent infinivid, wherein red green and blue tracery slowly strives to reveal its origin. Converging floral imagery – from left
to right and from right to left and mirrored, molecular patterning – a fusion.
Layer related works.
Layered drawing, pestle and mortar, saucepan, sieve, grain shovel…
Viewing an entirely mirrored architectural virtual space…
Reconstructing a gallery space virtually and presenting the resultant drawings in the original space…
MUSTER
MUSTER, (Ref: LIGHT) a dual projection abutted at a right-angle. An interminable stream of lightbulbs travel from right to left from one screen to
the other. Trapped within the grid, they muster and retreat from view, incessantly.
Light related works.
Viewing the outside from the inside of a lightbulb…
Setting up light-fields in three-dimensional computing space, CUBE…
Setting up light-field in three-dimensional computing space, SPHERE…
AS THE LIGHTS DIM
AS THE LIGHTS DIM, (Ref: SPACE/CORNER/LIGHT) a square format silent infinivid evoking the passage of light through a chandelier in an empty
museum space. An architectural place is brought to light as chandeliers slowly illuminate the space, before retreating into darkness again, ad
infinitum…
Space/Corner/Light related works.
Viewing virtual architectural space from the centre of a light field as animation…
Viewing the action of turning the corner via the cornice of a room as animation…
Building an empty museum space…
AT THIS JUNCTURE – Angela Eames:
I make still and moving pictures but whether still or time-based, I am always asking the question, What if? What if I could see differently? I am on the outside looking in, I can imagine the unseen but within the virtual environment, I can see from the inside – out. I can move around, within a virtual space. The virtual camera becomes my eye. I can use the computer to do something, which it can do and I cannot, which I can propose and it can provide, which I cannot see – until I can…
In making pictures that move, I am interested in visual collision and unanticipated visual consequence wherein one might realise and retrieve something unknown as opposed to relying on opinion, habit or taste. When drawing/making in time, I am looking for something I have not yet seen. I have chosen at this juncture to reflect on my most recent video works in the context of previous work. Particular areas of interest consistently appear and disappear within the timeline of my practice; light/dark, architectural space, natural and man-made objects, membranes – all are explored and manifested through two and/or three-dimensional layering. The infinivids are essentially bi-partite works that reflect on anthropogenic factors, our culpability for environmental imbalance and our ever-readiness to believe that we are in control. Earlier pieces have involved circular images working in tandem but more recently I have moved toward dual projection aligned to the corner, (NEXUS/SPLIT/MUSTER) and have realised that in addition to the abovementioned areas of interest, the corner has frequently emerged during my working practice. It is as though I’m now at the large end of the telescope looking back at the origin of my seeing; light/dark, additive/subtractive colour, architectural space, structure, skin, objects, flora, strata – all still present.
The infinivids allow the viewer to reflect on what is being seen in the moment – moving image, without an explicit narrative. When screened as independent loops, the viewer can come and go, look and leave and encounter sameness and difference. In essence, they are about bearing witness, where slow motion underlines our urge ‘to move too swiftly on to the next’ and silence instils contemplation. They are intentionally removed from what we have come to expect from video, (I.e. moving image that tells a story), making no demand on the viewer with regard to watching in linear time, from start to finish, suggesting that there are other ways of viewing the world. They explore the ambivalent nature of our experience of reality and the natural world, commenting on time past in relation to time present, anticipating time future. The focus is on membrane, particularly membrane as mediator between two viewing aspects; in front of and behind, revealed and hidden, seen and unseen, known and unknown. They exist in a time-frame but play forever; drawings in time, drawings in the present continuous, drawings which may be viewed in entirety or not…
Angela Eames – 2023
www.angelaeames.com