TITLE: One Thousand Worlds in 16 minutes and 40 seconds
FORM: A video installation in which 10 screens of indeterminate size are arranged site specifically. Each screen shows, for one second at a time, one of 1000 small square paintings from the existing piece “One Thousand Worlds”. Examples: small, secure space; 10 iPads in grid formation / Large, darkened museum room; hanging, square, see-through screens with projected images / A home, office or waiting room; TV/DVD components embedded in wall.
DURATION: Each “World” would be shown on one of multiple screens, a sequential, continuous loop of images taking 1000 seconds to show all 1000 images. There is a change of image happening every one second. This allows the viewer a maximum of 10 seconds with any one image before it changes. I am working with a musician who is in the process of composing sound specifically to accompany the piece.
COMPONENTS (external): Each part of the original piece “One Thousand Worlds” is a 7x7” (17.8 cm x 17.8 cm) monotype made with acrylic paint, the impression taken from paper, through a circular template and modified with a variety of materials. Created between March 2008 and December 2009 in Ireland and New York City and numbered in verso the content is various and cohesive. Pencil markings make field-like patterns and recurrent elemental structures and abstract forms appear in microcosm. The collective worlds encompass and link a multitude of moments; the direction the wind takes as it winds up the shoreline, surprises, planets, moons, reminders, shoals and waves; with the city, trees, bluejays, lights in the subway tunnel, curiosity and longing. The piece as a whole is a document of observation and connection. Associations, built upon the ones before, make for a gradual passage through change, each part being both unique and of the same structure recognizable as relating to the other. The aesthetic is of handmade, matt, relatively monochromatic circles.
ORIGIN (internal): to release myself from striving, sit still, occupy this body in this place and time, relaxed and connected; then to act with complete attention in simple response to the printed circle. Every interest or event occurring at that time found its way into the world of the “Worlds” generating information and furtherance of association by small acts performed repeatedly. In this video installation, passage of time, with its attendants, memory and impermanence is given greater prominence. The movement of the cycling loop of these circular images allows patterns to arise in which large-scale order emerges out of small-scale interactions.
VIEW: I desire to have the “Worlds” seen in a place where people find themselves having to wait: an airport, subway station, a window next to a bus stop, a hospital.
“I feel more and more every day, as my imagination strengthens, that I do not live in this world alone but in a thousand worlds--No sooner am I alone than shapes of epic greatness are stationed around me, and serve my Spirit.” (Keats, October 25, 1818)
TITLE: One Thousand Worlds in 16 minutes and 40 seconds
FORM: A video installation in which 10 screens of indeterminate size are arranged site specifically. Each screen shows, for one second at a time, one of 1000 small square paintings from the existing piece “One Thousand Worlds”. Examples: small, secure space; 10 iPads in grid formation / Large, darkened museum room; hanging, square, see-through screens with projected images / A home, office or waiting room; TV/DVD components embedded in wall.
DURATION: Each “World” would be shown on one of multiple screens, a sequential, continuous loop of images taking 1000 seconds to show all 1000 images. There is a change of image happening every one second. This allows the viewer a maximum of 10 seconds with any one image before it changes. I am working with a musician who is in the process of composing sound specifically to accompany the piece.
COMPONENTS (external): Each part of the original piece “One Thousand Worlds” is a 7x7” (17.8 cm x 17.8 cm) monotype made with acrylic paint, the impression taken from paper, through a circular template and modified with a variety of materials. Created between March 2008 and December 2009 in Ireland and New York City and numbered in verso the content is various and cohesive. Pencil markings make field-like patterns and recurrent elemental structures and abstract forms appear in microcosm. The collective worlds encompass and link a multitude of moments; the direction the wind takes as it winds up the shoreline, surprises, planets, moons, reminders, shoals and waves; with the city, trees, bluejays, lights in the subway tunnel, curiosity and longing. The piece as a whole is a document of observation and connection. Associations, built upon the ones before, make for a gradual passage through change, each part being both unique and of the same structure recognizable as relating to the other. The aesthetic is of handmade, matt, relatively monochromatic circles.
ORIGIN (internal): to release myself from striving, sit still, occupy this body in this place and time, relaxed and connected; then to act with complete attention in simple response to the printed circle. Every interest or event occurring at that time found its way into the world of the “Worlds” generating information and furtherance of association by small acts performed repeatedly. In this video installation, passage of time, with its attendants, memory and impermanence is given greater prominence. The movement of the cycling loop of these circular images allows patterns to arise in which large-scale order emerges out of small-scale interactions.
VIEW: I desire to have the “Worlds” seen in a place where people find themselves having to wait: an airport, subway station, a window next to a bus stop, a hospital.
“I feel more and more every day, as my imagination strengthens, that I do not live in this world alone but in a thousand worlds--No sooner am I alone than shapes of epic greatness are stationed around me, and serve my Spirit.” (Keats, October 25, 1818)