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Notes on
This house is both interior and exterior space.
It serves as an established setting as well as a container for the word picture to reside. My representation of this house is an attempt to craft a visual story that resists painting too precise a picture, thus relinguishing control of the picture making process to the audience.
I pair two often opposed narrative forms: motion picture and literature so each may effectively subliminate to strength of the other to create a synthesis of form.
I impose no specific voice to the narration so the reader must insert their own.
Through this approach to narrative process, I hope to cultivate a succinct and immersive relationship between audience and storyteller that engages the interpretive flux of communication through a collision of form.
Sebastian
Notes on Sebastian.
A work by: Leif Huron
Form:
Looking into the sun- the thing your mother told you never to do. This introduces an obstacle for the viewer to overcome, but also activates the space by creating a tangible situation. A desire is created for the viewer to turn away, or to use their hand to block out the glaring sun.
Mise en scene conveys an equal integration of both open and closed compositional form.
Placement:
We {the viewer} feel as though we are hunched in the thicket looking out at the path. Are we hiding? Waiting to surprise someone as they wander down the path? Are we avoiding that which occurs on the "beaten path"? Are we stepping outside the path to take the objective angle as observer? Or, are we not there at all...are we merely connected to a remote view (as in a webcam) as pure "watchers", with no potential for action? The sense of waiting sets in...curiosity builds and transforms into tension.
Space:
An audio-infestation of insects creates an aural space and indication of time. The buzzing of the tiny wings as verification that this still frame is indeed moving through time- counting down our waking moments. This places us more deeply into the fabric of the natural world. Far removed from the security of civilization, societal structure and cultural restraint. This is the place of slow decomposition.... eternal return.
Time:
We visually circulate within the frame, exploring the subtle forms and movement of the prolonged, near static scene; however aware of a rising impatience...
The viewer having eventually exhausted the frame's codified possibilities is suddenly taken by another level-- the disembodied voice-- now the viewer must reassess the situation-- Hey wait, where is Sebastian, I'm I Sebastian? And who may be looking for me/him? Mother/Daughter/Lover?
Voice:
A motherly voice, stern, nurturing calls out for Sebastian from behind us. One possible interpretation reads frustrated maternal gesture in light of childish mischief? -- Parental fears/acute awareness of limitations, etc.,
Is he hiding? Did he run away? Is he lost in the freethinking space of these fictional woods- wandered into a fantastical journey too far removed to be drawn back in?
"It's me...Hello?".
Has this happened before? It's a bit as though she's expecting the unexpected. Are we Sebastian? Is this biblical reference? Could we be in the forest filled with arrows, waiting for "Irene" to find our undead, martyred body?
But, she passes us by. We continue to be plagued by the bugs and beating sun. The questions remain unanswered while possibilities abound.
A work by: Leif Huron
Form:
Looking into the sun- the thing your mother told you never to do. This introduces an obstacle for the viewer to overcome, but also activates the space by creating a tangible situation. A desire is created for the viewer to turn away, or to use their hand to block out the glaring sun.
Mise en scene conveys an equal integration of both open and closed compositional form.
Placement:
We {the viewer} feel as though we are hunched in the thicket looking out at the path. Are we hiding? Waiting to surprise someone as they wander down the path? Are we avoiding that which occurs on the "beaten path"? Are we stepping outside the path to take the objective angle as observer? Or, are we not there at all...are we merely connected to a remote view (as in a webcam) as pure "watchers", with no potential for action? The sense of waiting sets in...curiosity builds and transforms into tension.
Space:
An audio-infestation of insects creates an aural space and indication of time. The buzzing of the tiny wings as verification that this still frame is indeed moving through time- counting down our waking moments. This places us more deeply into the fabric of the natural world. Far removed from the security of civilization, societal structure and cultural restraint. This is the place of slow decomposition.... eternal return.
Time:
We visually circulate within the frame, exploring the subtle forms and movement of the prolonged, near static scene; however aware of a rising impatience...
The viewer having eventually exhausted the frame's codified possibilities is suddenly taken by another level-- the disembodied voice-- now the viewer must reassess the situation-- Hey wait, where is Sebastian, I'm I Sebastian? And who may be looking for me/him? Mother/Daughter/Lover?
Voice:
A motherly voice, stern, nurturing calls out for Sebastian from behind us. One possible interpretation reads frustrated maternal gesture in light of childish mischief? -- Parental fears/acute awareness of limitations, etc.,
Is he hiding? Did he run away? Is he lost in the freethinking space of these fictional woods- wandered into a fantastical journey too far removed to be drawn back in?
"It's me...Hello?".
Has this happened before? It's a bit as though she's expecting the unexpected. Are we Sebastian? Is this biblical reference? Could we be in the forest filled with arrows, waiting for "Irene" to find our undead, martyred body?
But, she passes us by. We continue to be plagued by the bugs and beating sun. The questions remain unanswered while possibilities abound.
Waiting. Searching. Wanting.
Waiting.Searching.Wanting.
is a rhyming visual tapestry. It is an observation of gesture and motif. An unnamed protagonist explores the rooms and passageways of a benign purgatory. This is a record of a journey rendered by the anachronistic intersection of 16mm film and contemporary video processes.
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