The ephemerality of the being

The incomplete image in the work of some artists I admire.

What is then in the interrupted image?

The image as a projection

The self as a projection.

The room as a cave

The ephemerality of the being.

The electric image. The first projections sessions I made I did on an empty room during an empty vacation holiday. I had been working on video, experimenting with montage, free flowing animation and movement and wanted to see it in another scale. So I used a projector I had. I forgot what I bought the projector for but it doesn't matter. So I had an ample empty wall in front of me and little luminous communication coming from the window, so the place was suitable for projecting my images. While doing it, it occurred to me to move some objects across the space between the wall and the projector and the broken image has always fascinated, and the breaking of the projected image by the interference of the objects seemed to me a fruitful event. Spaciality and temporality flow trought this moment. These session where moments of calm and silence but of action. In the different iterations of theses sessions I am in movement, either placing objects in from of the projector of moving the projector across the wall and the objects. I said I was playing with light but was retorted that I was just using a projector, but a projector is one of the types of light in our time and very context specific to our time.

In the installation I made for Alserkal Avenue, first I draw the videos digitally, recording the process as it is usually down by illustrators. Then I projected that image over some construct of domestic appliances all placed together. Then I recorded that projection to make a new video. And projected it again, adding noise trough this mirror like reproduction, echoing and deforming the original phenomena. The final process was actually divided in three parts accordingly, one where a simple record was projected over an old car and an arrangement of canvas stretchers. Another in which the recorded projections formed the video, and a third where both types of footage where assembled into a new piece, trying to tie them in a narrative that goes for the real thing to the edited experience. This is crucial specially in the mediatic context of our connected-or disconnected- life. But also this added noise is for me a part of the experience of communication, which never happens perfectly. This continuous loop of regurgitation and mirror-like kaleidoscopic production of images is also the image trying to perpetuate and expand itself through multiple transformations. Talk about sustainability and permanence.

An evolution of that appeared in the project I made for the RCA CASS the process varied slightly. The projection sessions were performed in my room during August of 2023. Doing them is a performative, quiet event, done in almost complete silence, only the electric sound of the bulb in the projector as sound landscape.  I carry the projector until I deem enough, since the machine gets warm after some time.

Basically, a setup of frames and hung fabric was exposed to the projector images, moved by me like a camera, through the room(s). The material projected was produced through different media. Each session lasted 1 hour and a half approximately.

The second one explores the idea of technological expiation of guilt, where a character appears to be seated in a dark room after we see a washing machine circle contemplated in the way of Bosco's work. The third explored the idea of a revelation in the unexpected, in the mundane. For this, I fabricated pseudo-creatures with clothes torn and mashed up. These videos were also projected over the wall.

These texts are accompanying the videos taken and edited after the sessions, a product of the whole project.