Tag Archives: video

inside outside, the virtual praxinascope (2007)

 

the virtual praxinascope

into a desired position; to go back to the house, household, or country where somebody lives; to return home; to have a home and live in it; to take or send somebody or something home; to give a home to somebody or something; homeland; homage; place of birth; to your house. The house belonged first to potato farmers After a number of years they moved to Dapto on the way down the Macquarie pass their cart overturned on a sharp bend and the hens ended up in the trees, it was weeks before they were able Continue reading

digital films (1999 – 2002)

the promised land  (2002)

the promised land

the promised land begins as a homage to george meliés;
angels and soldiers on horseback are engaged in a dance with the sun and the moon; a small boat sails away from exploding fire; soldiers guard the gate. a nostalgic animation from memories of childhood or a metaphor for changing times.
“silent night, holy night” plays on the soundtrack.

3min30

 

 

rembrandt’s fire  (2001)

Rembrandt’s fire

“the gesture of the moving camera
smears small pockets
of time passing giving shape, variation
and identity to the ephemeral;
meaning is present one instant
and gone the next…”

3min45

watch this film

 

mirror here, mirror there  (2000)

mirroe here, mirror there

“The images come from statues from Classical Antiquity and also from
a recent journey to Turkey and Germany. The sound of water hitting the ground acts as a constant measure throughout the film. The overlaid image of water falling reinforces this constancy yet at the same time challenges a sense of perceived permanence offered by Classical Antiquity and renders it illusory.
A sense of transience emerges reinforced by the pathos
of fragmented birds wings and fleeting architectural memories.”

5min

 

brandenburg suite (1999)

brandenburg suite

“The journey is a series of intersecting moments, a continuum where public events traverse and shape private moments. Place and displacement are central metaphors unravelling moments of grief, loss and transience. Finally remembered fragments ripple across the surface ofthe screen reflecting the past and coming to rest in the present.”

8min

watch this film

Uncertain Narratives (2003)

Uncertain Narratives is the name of this exhibition and the title of the earliest work. It serves to sum up the concerns in my work. What ties the paintings, the collaged prints and the film together is an intuitive process of working. I think of the individual processes like the pages in a book that go to make up the whole. My background is in painting, print and film-making. The development of the new technologies, mainly the computer, has allowed me not only to continue my fascination with film which had become impossible, but also to develop other aspects of my work in more expansive ways. This is because the technologies allow the possibility of bringing together all of the processes of printing, painting and the moving image. The computer allows both random access to a large amount of information and provides infinite variations as well as aiding the layering process. I use the computer to produce two kinds of work, the first are still images, the second, moving images usually in video form.

The work shown here, The Tunnel, consists of a video (5:33) constructed from still images and video fragments and a 5 meter long print work made up of 15 prints. The film becomes a series of moving collages and paintings in time. The Tunnel video began as a response to an invitation from five media artists in Germany to participate in a project called “Gegenort – the Virtual Mine”. This was a globally networked exhibition and multimedia project sited at the disused coal mine at Neunkirchen. The basic idea was that of the mine as a place of energy production. In former times, coal was the most important raw material of the industrial era. Now it could be said that the primary resources are information, knowledge and imagination. The project’s intention was to continue the original purpose of the mine as a place of energy production. Their tool is the internet, which they use to invite artists from all over the world to participate. The idea was to look for today’s “raw material” by creating a virtual borehole lengthening the disused shaft to the centre of the earth. “Gegenort” can be literally translated into English as “opposing place”. The Tunnel as it was shown in Germany proposed a connection between Gegenort – the Virtual Mine – and Robertson. This exhibition further extends the virtual bore to Armidale. This work reflects on different stream of energy flow, that of people, the effect of transmigration, and the raw material of memories and experiences.

The effect of place and displacement is a major concern in my work. My own background and cultural memory are informed by my parents’ pre-way migration from Italy and Austria to Australia. The images come from a journey, a series of intersecting moments in which public events traverse and shape private moments. Layered and seemingly incongruous images produce a time-based collage, which has no fixed point of entry or exit. Finally, remembered fragments function to reflect the past and search for rest in an uncertain present.

The still works, the collages (Uncertain Narratives) are the most recent works in the exhibition. I think of them as stretched out moments, some abstract, some figurative. In the end they all belong to a kind of stream of consciousness that moves in and out of both private and public narratives. I begin with images from diverse sources such as cinema and Graeco-Roman sculpture, and using various processes of ringing to layer the images, I finally paint and engrave the surfaces of the work. This both distils essential qualities of the images and also pushes towards to the abstract. I see these as the results of a kind of archaeology, a sort of digging or mining into my own history. I’d like to finish with a few words about the paintings (Interruptions and Cancellations). I think they are important because they represent the moment of complete distillation into abstraction, that transitory moment when all words and images fade before it all begins again.

Peter Delorenzo, Neram, 19 December 2002

The Tunnel (2001)

The Tunnel was produced as a digital film and a digital print; the two pieces were variously shown at New England Regional gallery, the Wollongong City Galley, and at Gegenort and in the Virtual Mine internet project in Germany.

 

The Tunnel (print)

The Tunnel Print panels 1 – 10

panels 11 – 15, digital print on archival paper, 540 X 5m

This print was developed in 2002 as  a direct extension of the exhibition at Gegenort. The print work is five metres long and is a sequence of fifteen images, each measuring 50cm by 30cm. The prints resemble etchings in their tonal and surface qualities but have been produced on an ink jet proofing printer on Stonehenge paper.

This work reflects on a different stream of energy flow, that of people, the effect of transmigration, and the raw material of memories and experiences. The effect of place and displacement is a major concern in the work. My own background and cultural memory are informed by the pre-war migration from Germany/Italy and Austria; Yugoslavia of my parents to Australia. The images come from a journey , a series of intersecting moments in which public events traverse and shape private moments. Layered and seemingly incongruous images produce a time-based collage which has no fixed point of entry or exit. Finally remembered fragments function to reflect the past and search for rest in an uncertain present.

 

The Tunnel (video)

Watch this video