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Repetition and the reverse has become a signature in my work, it may be said that a single repetition is enough to break and confuse linear time.
The split screens films use short clips from films such as Godard's Week End and Kurosawa's Ikiru, they both are concerned with notions of déjà vu, the belated and the premature, the disjointed and the out of synch, all of which go against sequential, traditional notions of time and chronological experience. Two identical clips are projected on a wall side by side in an installation, however, one is played forwards and one is played backwards, simultaneously cancelling and nullifying each other. At first, particularly in ‘Ikiru’, it is imperceptible what I have done. It is only as the images shift, that it becomes apparent that one is the temporal inverse of the other. What we see as the beginning on each screen is the ending of the other. There is a single frame in the middle of the short films that exactly mirrors the other.
In ‘Unavailable encounter’ there is a mirroring across and between times denying a unified trajectory. There are two choreographed sequences; which using the technique of green screen are superimposed together to enable the dancer to dance with an earlier version of herself across time. The video, colliding two different temporalities facilitates an unavailable encounter between disconnected times in which before’s and after’s interact freely with each other.
The use of the loop in my videos allows the protagonist to move backwards as well as forwards producing a past not necessarily in the past and a future not necessarily in the future. In this sense there is no beginning or end point, therefore, no movement in time in the video can be determined as before or after as every movement has its opposite movement yet to come, returning us perpetually to a moment of déja vu.
The paradox is that, for a repetition to be acknowledged, a period of difference must take place otherwise we could not recognize any moment as a repetition because it would be an unchanging whole thing. Furthermore, any repetition cannot be conceived of until it is connected to the earlier moments, yet, it is only with linearity and stable beginnings that one can say that the second moment resembles the first, consequently, the repetition employed in the video is not hierarchical, as we cannot identify a first moment. The work therefore is always incomplete, as it has no defined end point. It invites random access offering jumps across chronological time rather than a fixed sequence.
The time represented in this film ceaselessly mutates but does not progress to go anywhere; it’s open-ended and multiple, not orientated towards a final point but folded into itself so that beginnings and endings are indistinguishable. The dancer not only dances through space but also through times, throwing herself out from the historical confines to join herself in a virtual time. The two temporalities are brought together into their own time capsule to visualize a third virtual temporality. The works present a new chronologically incorrect time where the present is thickened and sequence is broken down.