![]() The subject of the artwork explores the idea of a distinction between an Earth world - the ‘gross material plane’ with which we are all primarily identified - and alternative planes of existence which express both reality, potential and influence. “I’ve always been drawn to the idea of extended levels of consciousness - such as with dreams, archetypes, hyper-space, Out of Body Experiences, Near Death Experiences, realms that psychoactive plant medicines conjure - as well as the vast reservoir of human creative expression that has preceded us”. In Yugen, Fiennes’ imagery stimulates the viewer with a range of unusual environments, from literal, ‘natural world’ landscapes to extraordinary dynamic ‘fractal’ worlds suggesting the idea of alternate dimensions of influence upon the experience of reality. Yugen suggests that which is beyond what can be said. The title Yugen refers to a concept in Japanese aesthetics which alludes to the principle of a subtle yet profound awareness of the beauty and mystery of a partially perceived Universe. The technological innovations employed in the creation of the project point to a new range of creative possibilities for filmmakers and artists working with the moving image. Fiennes suggests that - “The point at which you encounter the work and the time you choose to spend with it is the perfect time for you”. The databank of content and the potential variation of combination is substantial. If the work is encountered again, there is every chance they will see sequences they did not experience previously. She suggests that the experience is perhaps closer to that of encountering a painting or still work of art - there is no fixed narrative or prescribed length and the viewer chooses how long they wish to spend with the work. The result is a highly immersive, mesmeric experienceįiennes explains that these hybrid works are neither ‘film' nor 'video art’ but a new - or hybrid form of moving-image media, in which the work itself possesses its own degree of narrative autonomy. at random) by the machine, in real time, from a substantial database of pre-rendered imagery and recorded sound. The technology behind the work enables sequences of video and audio layers to be selected autonomously (i.e. This means that the storytelling process is discharged from being fully controlled by the artist/director, making each viewing experience spontaneous and unique The works are consequently liberated from the traditional, prescribed and linear film format, as narrative control is relinquished to the computer engine which drives the work. This means that the works are liberated from the need to be played over or “looped”.īy combining coding instructions with pre-rendered imagery, Fiennes enables video and audio layers to be selected at random and in ‘real time’ from a substantial database of original imagery and recorded sound. With her production team, Fiennes brings to her work substantial experience of filmmaking and visual effects technology to create dynamic works which are able to perpetually self-generate in a continuous, non-predictable, ‘randomised’ visual display.
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