The October 2017 Kunstgarasjen exhibition clarified a number of concerns that I had about my work. Although I’d made what would prove to be a significant move from working solely with still, lens-based images to moving image work, I was still preoccupied with producing representations, which - while they were increasingly aesthetically and thematically practiced and refined - seemed to constitute repeated iterations of my “collecting” my experiences of certain sets of circumstances; creating images capable only of “pointing” at the objects of my curiosity, without being able to go beyond that collecting and pointing, in exploring the nature and the significance of the objects of my work.
Though my underlying concern at this time was already with the limitations of the lens-based image as a means of interrogating the objects of my research. I was however, still wedded to the idea of such images as a means of exploration and so my concerns were initially expressed through attempts to retain video images at the core of my practice, but to expanding their potential to interrogate the objects of my work, by changing their status within my practice and their relationship to the sites with which I was working; in the first instance, doing so by exploring their mode of display.
The Kunstgarasjen show had contained two video works, shown on wall-mounted, flat screen monitors in a “white-cube” space. This presentation of the video image understood as an autonomous art object and as the summative moment of a process of making, first separated from its referent by the act of image-making and then from the surroundings in which it was exhibited by a frame, exemplified my frustrations.
These concerns were uppermost in my mind when in January 2018, I spent a week working with and around the “new” KMD building; placing my existing (image based) work in different ways, into the building’s spaces. In so doing, I realise in retrospect, I was beginning to make tentative steps towards more radically re-forging the relationships between my work-making and its surroundings. In practice, at the time, my activity amounted to no more than staging various sited projections and naïve, improvised attempts to create relationships between images on a screen and objects in a physical space. I include documentation of these activities here, not on account of their merits as art-making, but as evidence, understood now as being significant in marking a shift in my thinking away from and beyond the frame of the image as the principal space in which I was interested and also beyond the act of creating representations as the principle vehicle for my making and my exploration of the sites which fascinate me.