Rebecca Garrett

1997, 05:30 minutes, colour, English


Foodland begins with figures moving in a mysterious beautiful landscape. Could it be Africa: Elemental, dusky light, fire... What are they doing? Is it some kind of ritual...?
An abrupt formal shift mirrors a psychic reality: a violence o elision, erasure; a separation of realms of knowledge and experience. What's getting lost, made invisible here? Is the problem with the medium, the camera person? Or is it the way we read the image here in North America, privileging certain kinds of knowledge (factual, material based, information based) and unconsciously erasing others...
This tape is provocative: both accessible to many viewers and demanding. The structure is similar to that of a game that the viewer can enter: the polarized, either/or duality is a question that should have an answer; a problem that should have a solution; an equation that one should be able to solve. But the tape is open ended and destabilizes certainty; induces thinking, questions; acknowledges relationships, connections, similarities (in this case spelled out literally vis a vis the Foodland Ontario hat, but still mysterious), without conflating into sameness.

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