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experimental film, experimental video
sue.k. experimental video
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1/500OP+9blackfriars
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sue.k.'s
fascination with train environments continue for this work. Shot
on the platform at Blackfriar's Bridge tube station, the camera
records at 1/500 shutter speed the departure and arrival of two
trains. Each frame of the original footage was developed as an
individual picture file, the transference of which flattened
the video interlace allowing the duplication of the image, that
occurred as a result of the shutter speed, to clearly exist in
the one frame. In a similar vein to liverpool223355 and steps---89,
1/500OP+9blackfriars reflects the grime and decay of an overpopulated
city.
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liverpool223355 |
Shot
at the height of Summer in 2002, liverpool223355 captures the brilliance of light on an almost
deserted nighttime platform at Liverpool Street Station, London.
This work, more than any other created by sue.k., refers to the
specificity of its medium by introducing the primary colours
of video, blue, red, green, and black and white in positive and
negative, in a series of still frame insertions within the edit
weave. These are used to reference points in space and time determined
by the subjective process of filming the original video material.
The audio is edited in a way whereby it further extends the experience
of space and time by announcing each introduction of a series
of colour or positive and negative black and white.
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d&b tollington
park |
This work uses moving image and still shots
recorded on a mini-dv camera. Since the first visit to London sue.k.
has been fascinated by the staircase that winds from the fourth
floor of a Finsbury Park house to its basement kitchen. This work
attempts to capture the experience.
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steps---89 |
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card4
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card
4 is a four camera
view of a group of friends playing cards. Each camera was situated
behind one of the players and set at a height that allowed
it to provide an overhead view. Central to all views was the
top of each player's head and, at times, the cards that were
held in their hands. In effect the camera/viewer peers over
the shoulder of the player. The hands of the other participants
in the game are positioned against the left, right and top
frames of the image. Within the middle of the composition is
the stack of cards from which they play. Most of what is seen
is set against the green background of the table's covering.
The concept for card 4 originated from a curiosity as to what could
eventuate from synchronized multi-view points weaved together
in edit. However, as a result of the method used to capture
the digital image for editing, syncopation within the image
occurs at random. All four of the recordings were captured
while in the state of being fast-forwarded and rewound in the
camera. This caused each of the recordings' time-code to be
fractured allowing each to display individual time arrangements
of the event of the card game. As a result, the synchronization
of any two, or more, of the recordings happen by chance, yet
the possibility of a re-occurrence of syncopation happening
creates a situation of expectation.
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karenintheround014 |
A
fascination with round-faced buildings and the spatial division
created by their architecture was the inspiration for karenintheround014. Commonly found in
London, a visit to the city in the autumn of 2001 provided the
ideal location for the shooting of the work. Situated in High
Holborn the building chosen is one that sue.k. passed each day
on her way to the Oasis Swimming Pool complex. It sits between
the two arm roads of a 'y' junction with its entrance door facing
the stem road. Of most interest is the way in which an image
of a round building can manipulate the perception of screen space
once the recorded shots are edited in a weave. Most important
for the work is the placement of a figure within the visuals.
The figure, London film artist Karen Mirza, is used to define
the boundaries of the frame and to provide a path of direction.
For the majority of the filming only her shoulders to her knees
are framed within the image making the subject of the work the
figure and its movement in space.
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gabscal |
A simple and uneventful everyday
activity of a mother and son walking towards a gate provide the
visuals for gabscal 21 seconds / 16 frames. The work discusses
the time measurement of video's PAL format placing it as the
subject for the piece. Developed with a metrical system in the
editing stage, gabscal 21 seconds / 16 frame uses a single recorded
sequence with the duration of twenty-one seconds and sixteen
frames. By inserting every second frame of the footage at dispersed
intervals into an extended duration of the same, a dialogue of
material time emerges. The single frames retain the order in
which they occur in the twenty-one seconds and sixteen frames
of the original recording. They are placed at dispersed intervals
that spiral from the first at twenty-one seconds and sixteen
frames until they are situated side by side to produce a second
moving image. The time it takes for this implosion to occur extends
the original length of the sequence to a duration that is almost
fifty minutes in length.
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daz07/02/012038
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The
first digital video work produced by sue.k., daz07/02/012038 was shot on analogue
SVHS, digitally captured and edited in Premiere. By moving into
the digital process avenues of approach, previously unavailable
using analogue editing, were opened. daz07/02/01203 became
a watershed work in sue.k.'s practice. Intent on collapsing the
illusion of screen space and causing it to collide at a point
that unveils its elements of construct, sue.k. developed a single
frame editing system which incorporated different events of time.
The work involves a clockwise pan, an anti-clockwise pan and
a still camera recording of the same landscape location. These
were edited in the sequence of one frame from the anti-clockwise
pan, two frames from the still camera and one frame from the
clockwise pan. The editing sequence was continued for the entire
duration of the piece. The panning camera caught the undulating
landscape of the Western Australian wheat-belt, while the still
camera was positioned facing towards a rising hill from which
a figure advances.
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sinatra's
square |
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potmen |
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sinatra/a film by
sue.k. |
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Wash |
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page last updated 8 September 2007