Leonard and Bina Ellen Gallery, Montreal, QC; Elektra Festival International Arts Numériques, Montreal, QC
Two-channel video installation
Two-channel projection with custom screens. Video, black and white, silent, 2:44min. loop.
Ignition 3, Curated by Marie-Josée Jean and Michèle Thériault, Dec.7-Jan 6, 2007
Elektra Festival International Arts Numériques (10th Edition), Usine-C, Montréal, QC, May 1-10, 2009
Equivalents (Parallel Lines)
If we proposed to describe the dynamics of spatial perception, how could we measure the shift that occurs between 2 dimensional planes and 3 dimensional volumes? If we used a sensing body as a gauge for mapping this excursion into the interstitial space between 2 dimensions and 3 dimensions—what I will refer to as 2½ dimensions— could we describe the experiential qualities of 2½ dimensional space by mapping the body’s perceptual shifts, sensations, and displacements? If this 2½ dimensional space exists somewhere between an image and a volumetric construction, could we begin to think of this in-between space as a virtual space—a space where the possible and the real can interplay to dislocate the body?
Equivalents (Parallel Lines) is an immersive two-channel video installation that explores optical phenomena in 2½ dimensional space, through vector-based computer graphics. Entering into the dark gallery space, the viewer is enveloped by the presence of two large projection screens placed adjacent to each other. Initiated by the presence of the viewer, a series of black and white vertical lines float across the screens in a rhythmic procession. As the viewer learns to anticipate the ordered assembly of lines, a rupture in the pattern occurs. In its mediated chaos, new patterns emerge; layers overlap and intersect to create flows of repetition and differentiation. The viewer has found him/ herself immersed in an optical painting, extended to reveal the architecture of the image.
The influence of the technological support in the installation plays an integral role in the experience of the image, as the use of a digital projection results in a rupture of the original source. Through the digital conversion of a vector graphic to a raster graphic, vibration and bleed occur, resulting in optical afterimages. These afterimages deftly inhibit the ability to perceive black and white lines (equivalents) in simultaneity. As a rebuttal to the (similarly) serial arrangements of Constructivism and Op Art and their focus on the purity of the hard edge, the digital vibration in these projections suggests a link between the utopian motivations of abstract art and the potential to reach such a state through the distortion of the digital medium. In this manner, the piece connects the ideas of the early twentieth century avant-garde to our contemporary understanding of space— an environment mediated by computer graphics and image processing.