(w. Charles Faulkner [photographer])
installation media - cardboard boxes, workbench, chair, polythene dust sheet, electric disco ball, electric disco lights, electric push-on spotlights, electric table lamp, bamboo skewers, chopsticks
film - digital media (10:36)
JS notes, April 2014
The film chronicles an assembly of objects at sunset. Two cardboard boxes, a workbench and a chair (all draped with a dust sheet) are the three basic structures in each of the compositions within the film. The three sets of practical objects positioned sparingly within the space initially induce banal impressions of simplistic functionality. Filmed inside a large blank project space using lo-fi, almost surveillance-esque video footage, the film at first warrants little more than mundane feelings of tedium as its seconds steadily turn into minutes.
The film's beginning moments reflect the everyday frustration of time moving forward with little tangible gratification. It puts our relationship with functional objects under the microscope. As we stand and observethem in time as pieces of digital matter on a 2D surface, they exist away from their usual context – of working as mainstays in our daily struggles with making. At this early stage, it would appear that very little is being made to happen.
The set-up of objects in the film initially appears minimalist and somewhat limited. The point to them remains as yet unclear. However, as the film progresses and the day's light fades, the assemblage's other existent parts - hitherto obscured - are brought to the fore. The objects appropriated from my studio space (the boxes, workbench, chair etc.) are used as simple props within the film. They constitute the still and the known – working signifiers generating nothing more than an artless low level of expectation – 'plinths', of sorts. From this introductory sense of nothingness, other more unfamiliar and interesting elements can be introduced to proceedings.
Before filming, I constructed three mini 'marquees' from painted bamboo skewers and wooden chopsticks, painted them white and placed them upon each of the three basic studio objects within the composition. Inside each marquee is a set of kinetic disco balls and electronic lights. As the sun sets and the general lighting situation fades into a darker space, a resulting light show from within these three constructed objectsemits more and more visible light through the covering dust sheet - recreating the surrounding space. The initial boredom gradually begins to skirt more and more into something more dramatic.
The film's volume gradually increases throughout, the humming electronics coalescing with the night time sounds of the building to create an ambient rumble which grows steadily louder and louder in the viewer's ears. This, together with the increasingly bright and disconcerting visual effects emanating out from the three constructed marquees, creates a very real sense of heightening tension growing from within the assemblage's candidly minimalist make-up.