On the (Painterly) Interruption of Projected Images: Bodily Engagement as Discontinuous Transition
Ho, Yu-Sheng. 2014. On the (Painterly) Interruption of Projected Images: Bodily Engagement as Discontinuous Transition. Masters thesis, Goldsmiths, University of London [Thesis]
Abstract or Description
This practice-based project considers what happens when projected video/film is placed in combination with drawing, and vice versa. The research conceives of the staging of video projection installations and related works in terms of their spatial and temporal dimensions. The main approach both in my practice (which focuses on drawing and video installation) and writing, aims to realign the layers of projected images in which bodily engagement performs as discontinuous transition. Since filmic media dematerialize the trope of bodily engagement, the drawing activity seeks its way of survival through performativity, promoting temporal continuity in a ritual manner. The text considers selected works by Pipilotti Rist, Dennis Oppenheim, VALIE EXPORT, Peter Campus, Joan Jonas, and Pablo Picasso in detail. Rist’s work is examined and critically interrogated as an example of immersive illusionistic video installation. Dennis Oppenheim’s Two Stage Transfer Drawing is considered as an example of kinetic transmission through the sensory body, which creates layers of images and screens (or interfaces). Using the physicality of projection, VALIE EXPORT’s Auf+Ab+An+Zu expands its filmic images into the real space, in which participants are invited to mark the real space of the screen. The text asks how this work reconfigures the space-time of its multiple performative elements. Peter Campus’s work is introduced as a productive example of the possibilities of closed-circuit installation. By manipulating the materiality of the screen, Joan Jonas’s complex video performance installations take this possibility even further, generating the screens’ own spatiality and temporality, as in the work Glass Puzzle, which is described in detail. Both of my text and practice focus on the materiality of the screen and consider how it can be rethought or restaged through bodily engagement.