g, b, g (2003)

An arrangement of footage taken at the Auckland anti-war peace march in February 2003, g, b, g was in fact made after the war in Iraq had been and gone; debate, media attention, and a voice of opposition had waned. It developed in contrast to an original video I had made using the same footage, finished in the lead up to war, that was politicised with the energy of a message still to be heard. In revisiting the footage it seemed neutered through after-thought. Distanced by a sense of ineffectuality it was simply residues of a peace march.

The work contains a sensation of distance, a slow moving research through the raw material in order to find some sign of meaning, or perhaps moments of ambiguity that could express in a frame or two the conflicts of reason and reasoning in the debate about war. A pawing through of ...

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An arrangement of footage taken at the Auckland anti-war peace march in February 2003, g, b, g was in fact made after the war in Iraq had been and gone; debate, media attention, and a voice of opposition had waned. It developed in contrast to an original video I had made using the same footage, finished in the lead up to war, that was politicised with the energy of a message still to be heard. In revisiting the footage it seemed neutered through after-thought. Distanced by a sense of ineffectuality it was simply residues of a peace march.

The work contains a sensation of distance, a slow moving research through the raw material in order to find some sign of meaning, or perhaps moments of ambiguity that could express in a frame or two the conflicts of reason and reasoning in the debate about war. A pawing through of the imagery that is as much a lament for a neutered conscience, as it is a political non-statement.

Completed in the process of me studying for a piano exam, it is unsuprising that music informed the moving image. I borrowed wisdom from three chords that end Rachmaninov

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