Thinking in Time (2008)

Videoshooting a trip across the Brooklyn Bridge might capture motion, but it inadequately conveys the caprices of time and memory that fascinate Shuli Sadé. Her work Dureé superficially documents such a trip, but transforms the filmic qualities into visually stunning meditations on the velocity of experience. An arresting arrangement of one hundred and twenty lit video stills, mounted onto units of square-foot Duraclear, Dureé refracts scenes from the bridge into a two-fold array of high-contrast positive and negative images. Illuminated from below, the piece highlights the blurred demarcations of night/ day, familiar/ unfamiliar, remembered/ invented.

By their nature, video stills suggest the infinite contained in bounded journeys, in which innumerable instants define perceptions of space and “duration.” Sadé’s imprecise yet impeccable images of urban landmarks expose how subjectivity prevails over linear time.

Sadé’s video piece, Thinking in Time, re-instates movement in her thesis. Seven video screens play manipulations of ...

Full Description

Videoshooting a trip across the Brooklyn Bridge might capture motion, but it inadequately conveys the caprices of time and memory that fascinate Shuli Sadé. Her work Dureé superficially documents such a trip, but transforms the filmic qualities into visually stunning meditations on the velocity of experience. An arresting arrangement of one hundred and twenty lit video stills, mounted onto units of square-foot Duraclear, Dureé refracts scenes from the bridge into a two-fold array of high-contrast positive and negative images. Illuminated from below, the piece highlights the blurred demarcations of night/ day, familiar/ unfamiliar, remembered/ invented.

By their nature, video stills suggest the infinite contained in bounded journeys, in which innumerable instants define perceptions of space and “duration.” Sadé’s imprecise yet impeccable images of urban landmarks expose how subjectivity prevails over linear time.

Sadé’s video piece, Thinking in Time, re-instates movement in her thesis. Seven video screens play manipulations of the same scene, shot every night through the same window for two consecutive summers. In this installation, she employs her signature color-coding language: green for the future, sepia for the past, and blue for, as she puts it, “an in-between,” or the perceived present. Along with projected sound, Thinking in Time’s screens allow the viewer further entrée into Sadé’s determined representation of the facets of experience well beyond our usual vocabularies. Through Dureé’s elegance and magnitude and Thinking in Time’s sensory expansiveness, the physical presence of Sadé’s vision makes manifest its conceptual foundations.

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