From Symposium Talk transcript
During that pressure period in the art making process, I was analysing our relationship with device engagement or life support machines as I refer to them. Observations in urban environments, city streets, cafes, public transport, restaurants, etc. It’s amazing what you can see when watching with purpose. It got me thinking about fragmenting form as a way to communicate distraction of a mental state. Again, more experiments, more reshuffling and rethinking though at least the project was moving again.
The fragmentations later become much more intensified when layering the rotoscope work. By doing so, I felt this captured distraction and disruption which was the objective.
For the audio, after consideration, a voice-over was vetoed in favour of a soundscape which sounded much more exciting to compose. For diversity, the collected material was recorded when traveling from Tokyo to London. As with the rotoscoped work, the sound bites were also layered. Automated and notification sounds predominate the arranged soundscape, fading in and out, some played simultaneously. The end result being a cacophony and chaotic assemblage triggering a sensory intrusion.
I feel now that this is a resolved body of work. I’ll read an extract from Art & Fear: Observations on the Perils (and Rewards) of Artmaking, which for me sums up this whole exploration and artmaking process:
‘But if asked to describe how it felt during the artmaking process-well that often comes out a bit like Dorothy trying to describe the Land of Oz to Auntie Em. Between the initial idea and the finished piece lies a gulf we can see across, but never fully charter. The truly special moments when concept is converted to reality- those moments when the gulf is being crossed. Precise descriptions fail, but it connects to that wonderful condition in which the work seems to make itself and the artist serves only as a guide or mediator, allowing all things to happen’
Bayles & Orland (2001)