collapse 69

The spatiotemporal difference serves as my starting point in the creation of "collapse 69," with the intention of juxtaposing (yet not distorting) the inherent visual qualities of cinema and manipulating them through the intrinsic resources of photography. Building upon the argumentative line in which cinema multiplies images, I strive to capture the temporality just before it dissipates into the multitude of subsequent frames. Similarly, I feel the conceptual and formal need to manipulate the rectangular frame in which the image, stolen from time and motion, is inscribed. To achieve this, I employ the technique of masking—a new frame that transcends its rectangular boundaries, completely recontextualizing the original image. The interaction between the moving image, the modified photographic camera, and the photographer yields a series of abstract images. Within these images, one can perceive forms, transparencies, overlapping exposures, and motion blurs—qualities inherent to the photographic process—combined with the textures and tonalities characteristic of cinema. These visual forms are captured on film, intending to contrast the digital image with the analog one and thus reinforcing the notion that what is seen in the photographic image is real and has physically existed at a specific moment. The video footage used for the shots corresponds to Aphex Twin's "T69 collapse."