An experiential animation of an imaginary stellar or aquatic environment. This piece encapsulates the imagination of the viewer . The jarring yet meditative audio augments the experience and directs the viewer both in and out of the self, placing them inside the created space.
14.7 PSI is an immersive and experiential animation made with the use of a single photograph. I took a hundred copies of that photograph and animated the hues and positions of each copy. The images move against and with one another creating a visually unique dense environment reflective of fantastic bodiless environments.
- Year Created: 2011
- Submitted to ArtBase: Thursday Oct 6th, 2011
- Original Url: http://vimeo.com/12520479
- Jeanette Bonds, primary creator
- Duane Pitre, Composer
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I am a multimedia video projection installation artist. In my work, sound plays an equal role to image. I employ sound and image together to construct an immersive environment. The relationship between sound and image is not representational, as I am more interested in developing direct, associative, or conflictual, rather than specifically diegetic, and harmonious interactions.
Thus, my work exists in a relationship between sound, image, and, most importantly , space. The contact, conflict and interaction between sound and image in the immersive space where my work exists encompasses and envelops the spectator in their experience. Since my work is confrontational in form, it demands the spectator's response and in doing so rapidly immerses them into the piece.
Formally, I work within strict limitations such as working with a single photograph, a single color, or a limited set of objects. Other examples include spatial restrictions such as utilizing a single shape or only allowing objects to interact on a screen a certain way. I feel these limitations, when strictly adhered to, allow for greater exploration of a medium and, more specifically, exploitation of that medium.
As part of my method, I take on laborious and repetitive tasks. Intense repetition extracts and creates new meaning and context and allows for thorough examination of the medium's limitations. These limitations affect the spectator’s experience. And it is through these formal demands and limitations, extended into an immersive audio-visual environment, that I affect the critical contact with my spectator.
Ultimately, my primary objective stems from the idea of meaninglessness as the result of process. However hard the production effort is, the effects are dissolved in a specific quest to make the installations ephemeral. My work is a statement against transcendence. But much more than saying “nothing matters” it declares: “everything counts”.