One way to do that is to break down the language of making video: emphasizing the concepts of shooting ie, pan, zoom, pull focus etc. The idea of montage comes into play here too. A sequential series of images can only be done when you have "time" as part of your medium (i guess they can be done in other mediums . . . but like a Greek frieze, it elicits associations like "that could be a video" because video and TV are ubiquitous . . . we understand the language of moving images very intimately).
Mark Lewis is one of the artists that we examined closely and who's work I feel has really opened up the possibilities of video to me. "Algonquin Park" can be compared to a painting by Mark Rothko. It is deliberately slow, minimal, full of ambiguity because the artist wants us to cut through the white noise of our everyday life (as evidenced by a question by the prof "How many of you stopped watching half-way through"). I think this type of approach speaks directly to me not only because I'm a painter, but I also have a bone to pick with contemporary pop-culture: its glitz, ADD, shallowness, consume, go go go etc. I believe in finding "those pockets of stillness" that makes us feel like human beings.
Okay okay, a little on the transcendental side of things, but there's nothing wrong with a little meditation ;)
|Mark Rothko, No. 14, 1960|