Frenzy

29 July – 1 September 2006
The Metropole Galleries
Folkestone

When couples strive to increase their chances cialis prescription Source of fertility, a multitude of factors may be considered. The medicine is the most reliable inhibitor which ranks as the discount online viagra foremost drug amongst the list of generic impotence cures. Due to the fact new blood cannot enter the penis, this is often viagra generic online severely agonizing and trigger everlasting deterioration on the erectile tissue. What are Treatment Options for Male Impotence? Out of the non-invasive means to treat ED, liking to request lowest viagra price from vivalloninternational.com It’s simple now like never before to buy levitra on the web, as you can have it conveyed to any town in the nation, which is extremely helpful.


SUSAN MORRIS

Description of video works exhibited in “FRENZY”, at the Metropole Galleries in Folkestone:

CARDS, Endless loop, 2006

The main thing that I was trying to get across in this piece is the sensation of something being cast. This could mean something being ‘thrown’ out – or a cast of the die – but it could also imply a ‘dealing’ with something already known, a direction or outcome that’s already been decided. I filmed myself playing game after game of patience and then edited together all the takes in which I ‘beat the cards’, so that it seems as if, rather strangely, I do so every time. The cards are dealt out, seemingly in a random order, and then reeled back in (a fishing metaphor, maybe?) according to the rules of the game, so that there’s a tension between something seemingly disorderly and the orderly system to which it returns.

RAINBOW BRIDGE, Endless video loop 1999

The white ‘scribble’ that traces various patterns within the fixed frame of the video is the froth from Niagara Falls, as seen down river, looking straight down from the centre of the famous ‘Rainbow Bridge’, that crosses the river and ‘links’ Canada with America. The white swirl disrupts the order of the composition, and refuses to resolve into a finished image. Here I was interested recording moments of simultaneity and collision, where the tension of things working against one another – as either surface or mass, on the horizontal or vertical plane, or as movement either forward or backwards, triggers conflicting readings of what is actually ‘there’.