This work has been developed and produced in conjunction with the Dong, who are an ancient ethnic minority with China who have no written history but instead utilise music and song to record their cultural tradition. Thus the Dong people regard music as their own language and memory chamber. They also inscribe the simulated sounds of birds, insects, rivers and mountains with their sound-scapes and their memory body is said to descend from the Yue people who extend back over 2,500 years.
This conjunction of ancient memory and attention to the surrounding vibrations of the present creates a fascinating fold of affective encounter and temporal frequency, which I am drawing upon in this work. Starting from the abstractions that are issued from the confluences of space, time, colour and sound there is an attempt to capture the vibratory roots through which aesthetic encounter gains its attributes.
The idea of utilising the screen format relates to creating a sense of the another space, a space that can be related to the elsewhere. I have gained a sense through this process of construction that what appears to be the most remote might be capable of erupting within the heart of the near or intimate. If the future is a secret lodged within the present then as artists we are left not to seek out the habitual within the contemporary but seek what is remote from it.
The search for spacing which occasion difference, close ups, curvatures, remoteness, out of focus, dissolutions, sharpened definitions, serial connections, all of these things are part of this realm of fascination that are the formal attributes of this project being projected. The realm of fascination, the projection of difference, the encounter of the elsewhere are the three screens in which everything might pass through. Movement, voice and memory within the on-off switching of temporal passage, in collision, emptying and saturating.
A story captured in breath but outside of breath.