“VANITY KILLS” 2018
WORK 2:
“UNTITLED”: (VANITY KILLS)
DIGITAL FILM SHOT ON I-PHONE
ENTOMOLOGICAL CABINET, I-PAD MINI, CARDBOARD PASSEPARTOUT
DURATION: 02:30 LOOPED
PHOTOGRAPH CREDIT: MARIOS STAMATIS
“VANITY KILLS” 2018
WORK 2:
“UNTITLED”: (VANITY KILLS)
DIGITAL FILM SHOT ON I-PHONE
DURATION: 02:30 LOOPED
Glamour bewitches, it casts a spell, it promises social transformation and individual elevation but is itself a tool of social distance and not social integration. Glamour allows the exploited to become the exploiter and is the promise of individual class mobility and not class critique. Like the specimen butterfly trapped within the glass exhibition case, the object of desire to the fetishism of the taxonomist and collector, both exploiter and exploited are caught within the ricochet of desiring reflections and projections.
PERSONA-ANIMA (TRIPTYCH) 2011
The three films are each set within the same infinitely reflective mirrored cube and all are filmed from a fixed camera position as unedited, single takes.
The specifically determined film set acts as a catalyst for the three, individual, not directed, collaborative performances that take place within it.
The subject/performer has a certain amount of trust in his reflection, resisting and identifying at the same time but never converging, reality remaining ambiguous.
The films flow forward from beginning to end and then in reverse from end to beginning before looping, structurally suggesting infinite continuity, a psychological ‘Mobius Strip’.
INSTALLATION: FILMS
CGI RENDER
TITLE: ‘PERSONA – ANIMA’ (TRIPTYCH)
INSTALLATION DIMENSIONS: VARIABLE
DIGITAL FILM, ANODISED ALUMINIUM SCREEN FRAME, TWO WAY MIRROR, ACRYLIC PANEL (PROPOSED)
PERSONA-ANIMA (TRIPTYCH) 2011
The three films are each set within the same infinitely reflective mirrored cube and all are filmed from a fixed camera position as unedited, single takes.
The specifically determined film set acts as a catalyst for the three, individual, not directed, collaborative performances that take place within it.
The subject/performer has a certain amount of trust in his reflection, resisting and identifying at the same time but never converging, reality remaining ambiguous.
The films flow forward from beginning to end and then in reverse from end to beginning before looping, structurally suggesting infinite continuity, a psychological ‘Mobius Strip’.
INSTALLATION: FILMS
CGI RENDER
TITLE: ‘PERSONA – ANIMA’ (TRIPTYCH)
INSTALLATION DIMENSIONS: VARIABLE
DIGITAL FILM, ANODISED ALUMINIUM SCREEN FRAME, TWO WAY MIRROR, ACRYLIC PANEL (PROPOSED)
PERSONA-ANIMA (TRIPTYCH) 2011
The three films are each set within the same infinitely reflective mirrored cube and all are filmed from a fixed camera position as unedited, single takes.
The specifically determined film set acts as a catalyst for the three, individual, not directed, collaborative performances that take place within it.
The subject/performer has a certain amount of trust in his reflection, resisting and identifying at the same time but never converging, reality remaining ambiguous.
The films flow forward from beginning to end and then in reverse from end to beginning before looping, structurally suggesting infinite continuity, a psychological ‘Mobius Strip’.
INSTALLATION: FILMS
CGI RENDER
TITLE: ‘PERSONA – ANIMA’ (TRIPTYCH)
INSTALLATION DIMENSIONS: VARIABLE
DIGITAL FILM, ANODISED ALUMINIUM SCREEN FRAME, TWO WAY MIRROR, ACRYLIC PANEL (PROPOSED)
PERSONA-ANIMA (TRIPTYCH) 2011
The three films are each set within the same infinitely reflective mirrored cube and all are filmed from a fixed camera position as unedited, single takes.
The specifically determined film set acts as a catalyst for the three, individual, not directed, collaborative performances that take place within it.
The subject/performer has a certain amount of trust in his reflection, resisting and identifying at the same time but never converging, reality remaining ambiguous.
The films flow forward from beginning to end and then in reverse from end to beginning before looping, structurally suggesting infinite continuity, a psychological ‘Mobius Strip’.
INSTALLATION: FILMS
CGI RENDER
TITLE: ‘PERSONA – ANIMA’ (TRIPTYCH)
INSTALLATION DIMENSIONS: VARIABLE
DIGITAL FILM, ANODISED ALUMINIUM SCREEN FRAME, TWO WAY MIRROR, ACRYLIC PANEL (PROPOSED)
PERSONA-ANIMA (TRIPTYCH) 2011
The three films are each set within the same infinitely reflective mirrored cube and all are filmed from a fixed camera position as unedited, single takes.
The specifically determined film set acts as a catalyst for the three, individual, not directed, collaborative performances that take place within it.
The subject/performer has a certain amount of trust in his reflection, resisting and identifying at the same time but never converging, reality remaining ambiguous.
The films flow forward from beginning to end and then in reverse from end to beginning before looping, structurally suggesting infinite continuity, a psychological ‘Mobius Strip’.
FILM THREE:
‘NARCOTIC-EROTIC, EROTIC-NARCOTIC’ (2011)
-DANAS DEMONSTRATES THAT TO BE A MAN IS NOT A GIVEN CONDITION BUT A CONTINUOUS EFFORT. THE BODY AS INSEPERABLE FROM THE GAZE THAT CONSTITUTES IT.
A SELF ALWAYS IN THE PROCESS OF BECOMING.
PERFORMER: DANAS URNIEZIUS
FIXED CAMERA, SINGLE TAKE, UNEDITED, DIGITAL FILM.
26:41 MINUTES FORWARD, 26:41 MINUTES REVERSE, 53:22 LOOPED.
PERSONA-ANIMA (TRIPTYCH) 2011
The three films are each set within the same infinitely reflective mirrored cube and all are filmed from a fixed camera position as unedited, single takes.
The specifically determined film set acts as a catalyst for the three, individual, not directed, collaborative performances that take place within it.
The subject/performer has a certain amount of trust in his reflection, resisting and identifying at the same time but never converging, reality remaining ambiguous.
The films flow forward from beginning to end and then in reverse from end to beginning before looping, structurally suggesting infinite continuity, a psychological ‘Mobius Strip’.
FILM TWO:
‘LOVER-OTHER, OTHER-LOVER’ (2011)
-JOE MORAN’S DANCE EXISTS AS A PERPETUAL VANISHING POINT; AT THE MOMENT OF ITS CREATION IT IS GONE.
HELPING US TO SEE THE INVISIBLE RHYTHMS OF APPEARANCE AND DISAPPEARANCE IN ALL BEING.
PERFORMER: JOE MORAN
FIXED CAMERA, SINGLE TAKE, UNEDITED, DIGITAL FILM.
27:31 MINUTES FORWARD, 27:31 MINUTES REVERSE, 55:02 LOOPED.
PERSONA-ANIMA (TRIPTYCH) 2012
The three films are each set within the same infinitely reflective mirrored cube and all are filmed from a fixed camera position as unedited, single takes.
The specifically determined film set acts as a catalyst for the three, individual, not directed, collaborative performances that take place within it.
The subject/performer has a certain amount of trust in his reflection, resisting and identifying at the same time but never converging, reality remaining ambiguous.
The films flow forward from beginning to end and then in reverse from end to beginning before looping, structurally suggesting infinite continuity, a psychological ‘Mobius Strip’.
FILM ONE:
‘LIMINAL-CRIMINAL, CRIMINAL-LIMINAL’ (2011)
-MARC PERFORMS THE POWERFUL INTERFACE BETWEEN FEMININITY AND MASCULINITY THAT IS ACTIVE IN ANY GENDER.
GENDER FUNCTIONING AS A COPY WITH NO ORIGINAL. A SPACE OF RADICAL UNCERTAINTY.
PERFORMER: MARC HARRISON LAMB
FIXED CAMERA, SINGLE TAKE, UNEDITED, DIGITAL FILM.
1:58:29 MINUTES FORWARD, 1:58:29 MINUTES REVERSE, 3:56:58 LOOPED.
Persona-Anima (Sculptural) 2010
SCULPTURAL (FILM):
‘PERSONA-ANIMA’
(PROPOSED)
‘A PROJECTED ‘FILM’ FROM A FILM THAT DOESN’T EXIST’
The two-way mirror walls of the sculpture function as the unmotivated ‘Warholian’ camera lens confronting two materialities, one is the performer’s ‘cinematic’ body the other the body of the spectator, while simultaneously functioning as the ‘film screen’, a hybrid object that exists contemporaneously within the spaces of sculpture and cinema.
Depending on the lighting arrangement the two-way mirror box can appear either transparent or reflective, allowing associations with either windows or mirrors in turn.
CGI RENDER: SCULPTURE
TITLE: ‘PERSONA-ANIMA’, SCULPTURAL (FILM)
SHOWN EXTERNAL LIGHTING OFF, INTERNAL LIGHTING ON
DIMENSIONS- 4.8m x 4.8m x 3.7m.
ANODISED ALUMINIUM FRAME, TWO WAY MIRROR WALLS, LED LIGHTING PANELS (PROPOSED)