Debra FearArtist, Film-maker
My practice inflects experimental fine-art moving image and sound with poetic sensibilities and sci-fi vibes. I tend to film opportunistically, so that the footage I acquire necessarily embodies its flaws. I have come up with the term arte difettoso, which I consider a bastard offspring of arte povera in its reference to poor quality materials. The footage is then subject to reframing to produce immersive audio-visual installations. This process is at once literary and scientific, with observation and invention informing one another. Observation becomes poetic inquiry, a means of seeing potential, while invention is informed by philosophical research and material interrogation. The intention is that any verbal representation of a work would necessarily acknowledge this multiplicity and avoid simple description of image and effect. Film cognition theory, technological advances and philosophic discussions of the digital context are vital to my practice, since they affect and express collective and individual understandings of moving digital imagery in the gallery and out in the world. An entity seems to have developed from spectatorship and participation in wider moving-image cultures, whereby all othernesses are incorporated into a ‘we’. This is a form of cyber-consciousness in a landscape that is perpetually reconfigured, and has become a vital force in the way that I process the material that I collect. My ever-increasing archive facilitates re-appropriation internally; audio is subject to frequent reconstitution into different works. I refer to these remixes as ‘circuits’, which can be considered analogous to echoes within experiences of time and memory. They are sculpted to absorb the viewer in subjective and intuitive experiences of duration, as qualified by Henri Bergson’s concept of durée. The works are highly structured, edited compositions with layered timelines that challenge limits of reality, in that their hyper-realistic appearance might be fabricated through entirely fictitious means. In this way they are obviously a digital form of painting, albeit extending out of avant-garde film history and using cinematic archetypes. Films, for me, are not only philosophic, cognitive instruments, but should incorporate aesthetic enjoyment; an absence of traditional characters or plot necessitates a different sort of absorption and identification.
|Activities||Practice-based research, Residencies, Private commissions, Creative writing, Film-making|
|Artforms / type of project||Digital, Drawing, Film & Video, Painting, Sound|
|Tags||digital, video, film, cognition, extended mind, Jungian archtypes, quantum entanglement|
News & Events
Show RCA 2014
Come to Battersea campus graduate show MA Painting and see my work. 18 June 2014 to 29 June 2014 | 12pm – 8pm 27 June 2014 | Show closed