Winspit explores the physical terrain of an old quarry in Dorset, a site regularly used as a background for feature films. An iPad mounted on a motorised track spans the length of the quarry floor recording the detail of the terrain, scanning the site, like a forensic instrument. The iPad slightly magnifies the actual site underneath; this in turn creates a physical effect for the viewer, as the screen appears to ‘open up’ the ground below. The noise of the motorised rig and the illuminated screen guides the viewer deep into the site. The audience experiences an activation of site, a curious interaction/dialogue between technology and nature, a scientific investigation. Winspit fundamentally questions the relationship between image and so-called real space while attempting to present moving image in dialogue with natural form.
In Atlas of Emotion: Journeys in art, Architecture and Film, Bruno (2002, p. 54) discusses "this shift away from the long-standing focus of film theory on sight, towards the construction of a moving theory of site". This movement from optic to haptic reflects film's position within the spatial arts, sitting more comfortably next to architecture and theatre than many of the visual arts. Traditional theories of the ‘filmic gaze’ fail to address the effect of spatiality, the act of crossing or inhabiting space are not explored or explained.