Sequences and interruptions
Hamlyn, Nicky (2008) Sequences and interruptions. [Exhibition/show, Film]
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These 16mm cine films form part of my continuing project to define the isomorphic relationship between the camera and its subject matter. Previous aspects of this research ranged from filming landscape to interiors; the current work involves filming a set of paintings (by Angela Allen) and explores the ways spatial, rhythmic, optical, colour and temporal characteristics of a painting translate into a filmic moving image. The grid form of the pictures determines the films’ form; they were made by filming a number of paintings frame by frame, often in extreme close-up. I use predetermined sequences of individual frames, whose order is derived from formal aspects of the paintings, most of which are based on square grids of 196 squares.
In its use of frame-based, scalar structures, this project expands the conception of animation, focusing on ways of organising filmed sequences of real objects in the world (as opposed to the conventional practice of filming 2D artwork on a rostrum, 3D models on a set or computer generated images). The work is unusual in comprising a painting-film hybrid, or conjunction: the work is both the paintings and the films, which have to be seen together. To my knowledge, there have only been two such films made in the past: my own film differs from them in adhering much more strictly to the paintings’ formal rationale.
The films are accompanied by a dialogue between Angela Allen and myself, published in issue 2 of Sequence journal. Sequences and Interruptions was screened at No.w.here in Bethnal Green, London, in November 2008, as part of Light Readings, a series of events where a filmmaker and a critic, curator or artist, conduct a public discussion of the work. Correspondences, and the corresponding paintings, were exhibited at the Art Gallery of Windsor, Ontario, April–June 2012: http://www.artgalleryofwindsor.com/exhibitions/upcoming/347
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