Artist Statement
By reduction and subtraction of the source imagery, a space is created for contemplation and slowing down. This threshold or psychological space is where the stable coordinates of time and space are disrupted, ‘‘to articulate such moments of mute encounter with all that exceeds our comprehension.’’[1]
The thin washes of colour built up layer upon layer produce a luminous like quality, which reveals the presence of previously applied layers. This, alongside the abstractly composed strips of video footage with their cropped and altered pacing, evokes a sense of temporality.
The ocean, the edge and the beyond are terms that deal with the unknown. Similarly to the intangibility of time the edge conveys this contemplative state. The edge, associated with being on the limit of something, holds a resonance of isolation and remoteness. This edge is emphasised through the splitting of both screen and canvas, which isolates through internal and external perspectives.
A transitional space is shaped, through subtle changes in time and colour, referring back to the action of movement and light on the surface of the landscape.
[1] Morley, S (2010). The Sublime- Introduction. London; Whitechapel Gallery; Cambridge, Mass: MIT Press. pp12
By reduction and subtraction of the source imagery, a space is created for contemplation and slowing down. This threshold or psychological space is where the stable coordinates of time and space are disrupted, ‘‘to articulate such moments of mute encounter with all that exceeds our comprehension.’’[1]
The thin washes of colour built up layer upon layer produce a luminous like quality, which reveals the presence of previously applied layers. This, alongside the abstractly composed strips of video footage with their cropped and altered pacing, evokes a sense of temporality.
The ocean, the edge and the beyond are terms that deal with the unknown. Similarly to the intangibility of time the edge conveys this contemplative state. The edge, associated with being on the limit of something, holds a resonance of isolation and remoteness. This edge is emphasised through the splitting of both screen and canvas, which isolates through internal and external perspectives.
A transitional space is shaped, through subtle changes in time and colour, referring back to the action of movement and light on the surface of the landscape.
[1] Morley, S (2010). The Sublime- Introduction. London; Whitechapel Gallery; Cambridge, Mass: MIT Press. pp12
Susanna Stott © 2016 – All rights reserved.