At this moment of writing what I am visualising has not happened; it only exists as a prospect. Yet at the moment of reading it has already happened and it now continues to exist as something beyond the moment of its occurrence. It is in this multiplicity of instances that what did exist in the two-dimensional now extends in an almost arc-like fashion that goes beyond looking and becomes something concerned with understanding without knowing why.
However, in the absence of that which is already past, I am showing you something different; something which acts as a diversion. It should be viewed as separate but related to the previous composition, with similar properties of perception. It explores, through intersubjectivity and collective understanding, the expression of the recognisable and tangible in ways that emphasise the non-physical aspects of the physical object.
The former - the about to happen and the already happened - was screened in a public location to an audience that included neither you nor I. It represented an experience of something I had perceived, and explored how this could be expressed within the parameters of the moving image.
The experience was presented as a specific sequence of a repeated moment, altered through slight abstraction to suggest a sense of how we ‘see’ instinctively instead of with analytical observation and comprehension.
The audience were placed in a position of passive engagement; not knowing exactly what it was they were seeing or how they were meant to interpret it. Importance is placed not on what they understood on any intellectual level but instead on the periphery of understanding. It is how they have interpreted what they have seen, how they have registered and processed it, that becomes central to the meaning. Their position as subjects in relation to that objectified experience is formed through their reflexivity.
The factors that made up this experience, those concerned with sensory assessments, were deliberately obscured in order to highlight the distinction between a straight-forward reading and the subjective interpretation of the intended meaning. The visual was consequently reshaped by the viewer as a result of their own perception of this encounter.
Uninterested in pictorial documentation of the material world, I am instead concerned with the imperceptible factors that are contained within the moment and how these can be manipulated in order to change first-hand concrete observation into something more indirect. The many different facets of this visual encounter are emotionally, intuitively, or subconsciously processed by the onlooker so that the qualities of the original concrete image are given a form that exists more within the possibility rather than the actuality or authenticity of the phenomenon.
The meaning started to exist beyond its presented visual form at the exact moment the images were recognised as something but not understood. The images are now subject to the audience’s participation, not just in separate acts of remembering but, hypothetically, in collectively reworking the content of the moving image as part of a wider yet unknowingly shared experience. The individual’s reinterpretations continue to transmute the original, such that it becomes something new, something quite different again.'