As you enter the gallery three devices lay on the floor, each plays a single shot looping. A static moving image of a park, a close-up of an industrial fan and the perpetually spinning image of a grey sky through denuded trees of winter. Intermittently, the light in the room changes from a cold steel-white wash to a yellow that drowns the room in intense colour. The room is divided by a temporary wall that cuts the space at a diagonal. Sound from a three-channel video on the other side of the temporary wall can be heard, drawing the viewer further into the space.
The three-channel video is displayed on large LCD screens. The video evokes a vague cinematic narrative. The imagery is steeped in atmosphere that does not find resolution in linear progression. Instead a woman wanders through rain covered streets, filmed from both behind and above. She is seen inside a room looking out a large window. Her attention is split between observation of the street from the window, a mobile phone, laptop and a USB memory card.
The temporary wall that splits the space both conceals, and reveals, the equipment that powers the work. It also acts as an architectural and sculptural element. Likewise, the videos are perpetually moving, but owing to non-linear narratives, they remain in a type of stasis.
The videos are reminiscent of cinematic narratives, but do not reference any film in particular. Instead they evoke only an atmosphere that finds no resolution. The idea that a cinematic image could continue endlessly suggests that it might extend to the space beyond the frame. The light that spills from the screen is amplified via the bank of lights on the wall.
This work evokes cinema, to speak of the ways in which these familiar images permeate the world beyond the frame.
Kyle Weise, "Split Screen." Catalogue Essay, Metro Arts, 2016. pdf.