The videos used in the installation are made from series of still photographs captured at intervals of between 0.25 to 6 seconds. The individual photographs, which capture time-slices of the forest, are temporally expanded and blended into continuous sequences.
At first glance the footage appears absolutely still, then gradually tiny movements reveal themselves: sinewy trunks lean one way and then another, shadows lighten and darken as clouds pass overhead, grasses shift and sway.
These are not lifelike renderings; rather they are intermittent snapshots of the landscape, blended to create an illusion of movement, our eyes and brain making up the in-betweens. As with pixilated animations these time-lapse scenes carry a sense of the unreal, fabricated or staged. Our attention is drawn to the different phases of movement and the intervals between them, heightening our sense of the passing of time.
Images of running water appear particularly dreamlike. Rivers and becks are transformed into swelling, undulating surfaces that are mesmerising and hypnotic. By slowing and expanding time the installation attempts to evoke the sensation of 'extra-temporal' involuntary memory, existing neither in the present nor the past, but outside our normative perception of time.
Bachelard's Rêverie is a 'downhill path' that allows our consciousness to relax and wander: In selecting our locations we have often been drawn to paths or trails leading into the distance, or to glades and forest clearings that leave room to daydream.
At first glance the footage appears absolutely still, then gradually tiny movements reveal themselves: sinewy trunks lean one way and then another, shadows lighten and darken as clouds pass overhead, grasses shift and sway.
These are not lifelike renderings; rather they are intermittent snapshots of the landscape, blended to create an illusion of movement, our eyes and brain making up the in-betweens. As with pixilated animations these time-lapse scenes carry a sense of the unreal, fabricated or staged. Our attention is drawn to the different phases of movement and the intervals between them, heightening our sense of the passing of time.
Images of running water appear particularly dreamlike. Rivers and becks are transformed into swelling, undulating surfaces that are mesmerising and hypnotic. By slowing and expanding time the installation attempts to evoke the sensation of 'extra-temporal' involuntary memory, existing neither in the present nor the past, but outside our normative perception of time.
Bachelard's Rêverie is a 'downhill path' that allows our consciousness to relax and wander: In selecting our locations we have often been drawn to paths or trails leading into the distance, or to glades and forest clearings that leave room to daydream.
Market Weighton, Yorkshire, April 2010