'Follow Me' is stunning - wonderful in all respects. Looking forward to viewing the others..
Thank you Michael.
Follow me_ With this work, I hope to engage in a relationship with place that is intuitive, sensual and involves pleasure in being there. The other work Do/Don't tell is teasing the conventional perception of a place, like a public washroom. The other two Out of Blue and A lullaby (older works) , are trying to find place, the images stay on top , afraid to go beneath the surface of the video space.
You make video art too (I am inspired by your v-blog) and I am wondering how do you experience the editing process in your work?
hmm. I was taken by your initial bold statement & I certainly think it to some extent describes how I feel in the specific instance of making dance based work.. but is that saying any more than the editing process allows us *another layer* of choreographic input...?
For me nearer to the mark most of the time is the cliché, but no less true for being one, of editing being a *musical* kind of process - it certainly often feels that way. My background is in music and there's definitely a similar sense of what I'm doing when I compose and when I'm editing.
Even more, though, I feel it as a sculptural process - in the specific sense one might cut away at wood or stone to reveal the form underneath ( and further that the grain or other peculiarities of the material might dictate or suggest some decisions). Especially in situations where I have a lot of material it initially feels that I will never be able to manage or shape it because the possibilites are so legion. The more I cut though , the more I see a final shape and the more certain I become of what I am doing and where I am heading...
Having said all that the last specific *skill* that I would claim is "editing" - I'm sure I do loads of naive & dodgy things that would make a real *editor* laugh or throw up her hands...
Yes, I know the real editor throwing their hands up, it's vague and also dodgy what I do. And find it almost impossible to teach. What does one need to 'master' for this kind of work?
The layering of the images that's where for me the choreography starts. Each layer in the timeline is somewhat like a 'dancer'. I use the composite factor of the layers similar to light-design on a stage. What do I want to expose and what not. I envy the abstract language modern dance and music can have, an abstraction that is physical. I am trying to find that in video..
My background is performing and sculpture, so I can relate to your description of a sculptural process. But then with digital editing what is cut away is can always be added again, making choices seeming very endless. I tend to 'live' with the material available, watching it over and over again, looking for intuitive understanding of the material on top of the various other means of engaging with an image (social, conceptual, political..) After that is the 'molding' of the footage on the time line, once editing choices are made fast, as if I am trowing the paint against the canvas, after this I move away, to make room for the endless doubt and the dialogue with whats on the timeline. It's a feverish process, an obsession with detail, waking up at 4 Am thinking no , that cut doesn't work.. changing ,set up a render. There is a moment is say this can be seen publicly, though there is always the doubt.. it's an intuitive choice deciding the moment. ( I see the intuition as a 'method' that needs to be trained, understood, work with and informed.)
probably this process is a cliche.. all very modernist. .But seldom talked about in video art.
generally when I decide to cut it stays cut. For me at least, any other way madness lies :)
The 4 am thing I'm familiar with..
aargh! -mis-spelled your first name, forgive me!