click here to watch demo footage

title: Threesixty
year: 2002
series: n/a
body of work: n/a
medium: One channel video installation.
size: variable
edition size: 3 / 1AP
collections: TBD
availability:  3 / 1 AP

artist brief:

Threesixty was created by editing together DV footage from four cameras placed around a room, which recorded a single event, that of the skate boarder Billy Valdez doing 360 maneuvers.   Five frames of the said action per camera are edited consecutively and in clockwise order around a room in a kind of braid work of time and movement.  The viewer of “Threesixty” sees the said action from one of four perspectives around the room every 5 frames. 1. This creates a crude animated view of rapidly moving around the scene happening in front of the viewer, while the real time movement of the scene is allowed to play slightly delayed but unhindered. 2.   In spatial terms, the view of a figure doing 360 degree turns is seen from the perspective of 360 degree turns. 3.

As the figure of Billy is spinning, it finds a continuity of movement with it’s animated background that simultaneously seems to separate it from the background.  This becomes more evident when Billy stops turning and moves out of the center of the room since his figure is then more clearly part of the turning environment.

By weaving four perspectives of a singular event using a time based medium that registers movement through linear sequence, a viewer’s perception of the time and space of the said event, as well as the movement of the said figure, is complicated. A single moving picture sequence typically used to present a single perspective of a given event is made inclusive of multiple perspectives of a given event. The viewer then must process four visual extractions (of countless visual extractions) of a single event, as a single linear sequence.

In a nutshell, this project was one way to “turn up the volume” on the space of an event as one watches that event occur within time.  The result is an exploded moving picture that puts forward multiple perspectives within the singular time frame of a given event.

(note: one second is 30 frames)
1.   Since it may come up, my comment on the technique made famous in “The Matrix” bullet dodging scene uses stills (the isolation of parts of movement follows Muybridge) to animate a movement in order to add additional illusion to a film sequence.  The effect of such a technique is like hitting “pause” in the space of an event and changing seats, then hitting “play” – a matter of control. More interesting to me was what one would see if the movement of an event from four perspectives (basically in the round) was seen as one sequence. To complicate or make less graspable the illusion of movement within a linear time sequence is preferred over the production of “special effects”.
2,3.Inspiring is the implied movement of paintings such as Duchamp’s  “Nude Descending a Staircase,” as well as the implied multiple perspectives of paintings like Picasso’s “Man With a Guitar.”  Both exemplify the attempt to present the complexity of an event with an image, without concern for creating illusion (without attempting to reproduce nature or to naturalize).  A medium such as video used to address such practices and concerns offered a logical and humorous challenge since the latter medium, along with film, are time based mediums which also lend themselves readily to the creation of illusion.

Kevin Hanley  All rights Reserved.  Reproduction by permission of artist only.