2015, 03:11 minutes, colour, English
Part of a series titled "re/renderingthelandscape."
“re/renderingthelandscape” is a program of interrogating the legacy of painterly and cinematic genres present in the physical and cultural transitions embodied in the surface features of an area of land, and in the cultural acquisition and manipulation of information. To which the language of digital post-production (multiple takes, cross-dissolve, warp-stabilizer, colour correction) is deployed as means of articulating our changing relationship “to the catalogue of forms, postures, and images” (Bourriaud) we now call the landscape.
In Waterfront, the notion of what is immediately transparent (a critical element in renditions of landscape), that which is visible, is countered with that which is invisible, or unseen; except through the intervention of a tertiary form - such as the language of digital post-production – we then can begin to dismantle the essential intrinsic and extrinsic qualities of what is being presented. In Waterfront, I wanted to suggest that meaning is not only reflected in the objects we know and can see, but meaning can also reside in both individual and institutional constructions – for example in the discourse between the picturesque and the political. Looking out across a vista, what we are seeing, and how do we decipher its various elements? Traditionally, the landscape as depicted in art, literature, and song was concerned with “rendering” or “matching” the visible qualities of its subject. More recently the conception of landscape has been radically problematized by its politicization, which is to say, how does meaning become established and controlled, and what is the relationship of CULTURE and POWER?
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