Day Twenty-Five: In Parallel or Confrontation

The painting I’ve been working on during this residency is almost as complete as it can be. There’s probably a few hours left in making final decisions. This painting has determined other choices within the process, not a centre as such, but a tone that has been suggestive and made clear specific directions and readings. It determines how the video I’m working on operates, its rhythm, the choices of text and so on. It will contribute to but not command the install, I’d hope.

Today I’ve been testing frames for the video, how they might finally look, and what noise levels can be tolerated or detail sacrificed. I’d assume that this process, along with the edit of the sequence, will continue until the last possible moment. It is horrendously dull, requires patience and continual testing. I’ve no doubt that through time, the technology will improve to such a level that testing light levels, noise ratio and render time will become unnecessary. As I’ve watched the technology develop since the late 90s, the potential has always been evident. In choosing to work with this class of image, I’m interested in how it operates in parallel or confrontation with the conventions of older forms like painting or the photograph – and then what these synthesised processes have to say or can say about physical space.