presentation 02: multiple dimensions
The decentered media reality that we experience, with its fragmentation, multiplicity and simultenaity is helping to deepen the sense there is no correct or true model of the self. There is no longer one absolute reality, but the possibility of multiple realities, each one as real and as artificial as the next. Dan Friedman
MULTIPLICITY
I realized that although I have a lot of interests which are interrelated—space, time, emotion, absence of presence, visceral form—the underlying link among them seems to be the multiplicity and multidimensionality of singular parts. This construction and deconstruction of individual elements into multiple, multidimensional wholes ties various studies together. I work with multiples: the many instead of the one. Multiples are more exciting than singular instances. Whether using a camera that takes four almost identical fragments, or a camera which double exposes moments on a continuous film strip, I like the repetition of parts. Working with fragments and with layers, I am cutting things apart and putting them together in chance fashion. Seeing new juxtapositions which result out of these reconfigurations creates new meaning, and develops unexpected relationships.
Although I am utilizing ordering, I am not specifically focused on sequence. I am not constructing a regimented sequential narrative, but rather, working with kits of parts which can be reconfigured in play and investigation. These multiples do not necessarily construct a meta narrative. They exist in their multiplicity, in the many, to show the minor differences, to serve as points of comparison, to construct wholes made up of individual parts. They are interactive in the tangible sense of the word: interactive, changeable and reconfigurable to allow the user to construct their own variations.
Sequence and Seriality differ. Sequence presumes an additive construction which results in a “greater result.” The sum of the parts usually constructs a narrative, and transcends its loosely bound moments. Seriality entails the simultaneity of individual moments next to each other. It allows for juxtaposition and multiple vantage points, a parallax, multi perspective view. It is still divided though, and not mean to make up a new, cohesive whole. There is no necessary build up, climax or resoltion. It is about subtle variation of similar parts and simultaneous sameness.
Like a dictionary organizes interrelated words and exists in its entirety without a specific beginning or end or like a building sometimes exists with several circulation corridors that link separate rooms, I create book objects which are continuous yet not sequential. There is no pre regimented start or finish. Just as in that building, there is no one prescribed path, one correct route. The circulation path contains multiple perspectives, and depending on which path someone takes constructs different experiences.
NON ORDERED ORDER
Paradoxically, my work has a structure but a structure that is not regimented. The pages might be bound into one book, but they are flippable in different configuration to alter the juxtapositions between them. Maybe, the book is in an accordion book format, but there is no narrative beginning or end. The pages are all separate panels bound into one strip, that can be flipped in different alignments. Or, my book is not bound at all, and the loose pages—black dots which have been cut out of panels, or wax books pages which are infinitely variable in their sequence—the individual pages have no particular order. Or, I study, form that can never be frozen in the same state due to materials which are in constant flux. In the book that is made up of honey, every time someone plays with it, the book changes form. Utilizing such mutable, dynamic materials, I study new juxtapositions, chance alignments which give new continuous configurations. The new piece is contextual to every viewing; it is different every time.
MULTIDIMENSIONALITY
They projects this semester also have a multidimensionality to them: a front and a back, a foreground, middle ground, and background in the perspective sense. I approach a flat page in terms of space. I incorporate space within two dimensional media. Although some of my projects have incorporated installation formats, I am more drawn to the “book work” as means of expression. The challenge of translating three dimensions to two dimensions, and the challenge of the unflat page, excite me.
MULTIPLICITY
I realized that although I have a lot of interests which are interrelated—space, time, emotion, absence of presence, visceral form—the underlying link among them seems to be the multiplicity and multidimensionality of singular parts. This construction and deconstruction of individual elements into multiple, multidimensional wholes ties various studies together. I work with multiples: the many instead of the one. Multiples are more exciting than singular instances. Whether using a camera that takes four almost identical fragments, or a camera which double exposes moments on a continuous film strip, I like the repetition of parts. Working with fragments and with layers, I am cutting things apart and putting them together in chance fashion. Seeing new juxtapositions which result out of these reconfigurations creates new meaning, and develops unexpected relationships.
Although I am utilizing ordering, I am not specifically focused on sequence. I am not constructing a regimented sequential narrative, but rather, working with kits of parts which can be reconfigured in play and investigation. These multiples do not necessarily construct a meta narrative. They exist in their multiplicity, in the many, to show the minor differences, to serve as points of comparison, to construct wholes made up of individual parts. They are interactive in the tangible sense of the word: interactive, changeable and reconfigurable to allow the user to construct their own variations.
Sequence and Seriality differ. Sequence presumes an additive construction which results in a “greater result.” The sum of the parts usually constructs a narrative, and transcends its loosely bound moments. Seriality entails the simultaneity of individual moments next to each other. It allows for juxtaposition and multiple vantage points, a parallax, multi perspective view. It is still divided though, and not mean to make up a new, cohesive whole. There is no necessary build up, climax or resoltion. It is about subtle variation of similar parts and simultaneous sameness.
Like a dictionary organizes interrelated words and exists in its entirety without a specific beginning or end or like a building sometimes exists with several circulation corridors that link separate rooms, I create book objects which are continuous yet not sequential. There is no pre regimented start or finish. Just as in that building, there is no one prescribed path, one correct route. The circulation path contains multiple perspectives, and depending on which path someone takes constructs different experiences.
NON ORDERED ORDER
Paradoxically, my work has a structure but a structure that is not regimented. The pages might be bound into one book, but they are flippable in different configuration to alter the juxtapositions between them. Maybe, the book is in an accordion book format, but there is no narrative beginning or end. The pages are all separate panels bound into one strip, that can be flipped in different alignments. Or, my book is not bound at all, and the loose pages—black dots which have been cut out of panels, or wax books pages which are infinitely variable in their sequence—the individual pages have no particular order. Or, I study, form that can never be frozen in the same state due to materials which are in constant flux. In the book that is made up of honey, every time someone plays with it, the book changes form. Utilizing such mutable, dynamic materials, I study new juxtapositions, chance alignments which give new continuous configurations. The new piece is contextual to every viewing; it is different every time.
MULTIDIMENSIONALITY
They projects this semester also have a multidimensionality to them: a front and a back, a foreground, middle ground, and background in the perspective sense. I approach a flat page in terms of space. I incorporate space within two dimensional media. Although some of my projects have incorporated installation formats, I am more drawn to the “book work” as means of expression. The challenge of translating three dimensions to two dimensions, and the challenge of the unflat page, excite me.
posted by agnes at 5:45 PM
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