Between Hits
17 October – 16 November 2007
Accident Gallery
London
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BETWEEN HITS: LIST OF WORKS:
Susan Morris presents five silent works on video and one sound piece. Of the video works: one is projected, four are on monitors that are attached by brackets to the gallery wall.
The experience in the gallery appears to be one of being surrounded by objects that ‘see’, in that the works reference live footage played out on closed circuit T.V. monitors. The content on the monitors is far from this however; the works deal with emotion and chance, not political issues, with narratives constructed arbitrarily out of controlled environments.
In their construction they also reference processes akin to sculpture – mold making, casting and reproduction – as well as the indexical operation of photography.
Fiction: A scene of two people sitting on a wall talking is recorded using four cameras, one facing, one behind and one on each side. A narrative is constructed by editing together 15 seconds at a time from each camera take. This disrupts the film’s linear progress forwards as each moment is repeated four times – thus installing a delay, a movement backwards, or a return to the event. Replaying each moment from a different viewpoint disrupts ideas about real time, or truth of a moment. Over-analysis produces no fixed event, no single statement.
Soundless: A fixed camera on a wide angle records, from a distance, a conversation between two people. The image dissolves into twilight and daylight is slowly replaced by artificial light. Then scene then plays backwards to return to the evening sunset, looping continually in this way. This is projected low down, directly onto a wall, and tight against one of its edges. This emphases both the sense of distance from the scene and the fragility of the image.
Long Distance: A recorded conversation between two people is listened to through headphones on the gallery wall, situated in a small architectural niche. In comparison to Soundless, the sense excluded here is sight. During the recording a delay was placed on each voice so, like in a transatlantic phone call, subtle confusions and misunderstandings arise between the speakers as voices collide, or expectant pauses last too long.
Window: Pleasure in composition, barely perceptible changes of light, record the passing of time, the construction of our environments. Yet there is always a compromise between how open and how closed off we can be, how separated and safe our interiors are, and how much light from the world outside we let in. The object filmed is a door.
Working Blind: The first ever photograph was of a view from a window… before the concept of surveillance, or ‘neighbourhood watch’. When making this piece I felt that the very visible camera (from my living room) was itself threatened as well as being threatening or intrusive. I thought of Hitchcocks’s Rear Window… I would compare this piece to Window (above) in that I was again videoing inanimate objects, but instead of the camera also being immobile, this time I fixed it to a motor turning at one revolution per minute. It took twenty seconds to move from one curtain to the other; everything recorded of the interior of my home is edited out, so that the viewer of the piece is presented with a loop. Repetitive, obsessive, like a computerised ‘scan’, it leads nowhere – yet each ‘return’ is a different moment. As in the activity of a compulsive obsessive, the viewer is caught in a bind – s(he) can’t leave.
Courtyard: The camera is pointing down and, as in Working Blind, it behaves rather like a gun aiming at a target. In this piece the viewpoint is fixed, framing a very formal composition of horizontal and diagonal lines. The only movement occurs on screen, when people move into and walk across the courtyard, making sense of the space as architecture, yet destroying the composition as they do so.
Video offers us the opportunity to make instant images, and seems to give us these images to hold onto forever. But because these are recorded ‘blind’ the sight of potential loss etc. comes too late (James Bulger led away from the shopping centre, Princess Diana leaving the Paris Ritz). Witnessed by no -one, the latent residual traces of all our movements about the city last too long (recordings from CCTV are usually kept for 48hrs) – yet they also don’t last long enough. The material rapidly deteriorates. By the end of this exhibition the tapes will have been completely eroded – by playing, they will erase themselves.