Style and technique of the artist: Video,
Here is what you experience. Total Darkness. Then, a second or two later, a huge, white, fluttery taffeta screen is lit up by two lamps, trained to left and right of it. Itís a brilliant white, five-metre square spectacle, and the screen itself is overlaid by an additional strip of white light, curved like a scimitar wound. Thereís a tremendous amount of agitation, and thereís noise too, not only the whirr of the projector, but also a sound track, which comes and goes, and the sound of the agitation of the screen itself which, unusually, is in a state of perpetual motion.
The 31-year-old, who grew up in a tenement and returned to one as soon as he left the “Barratt home” he shared at art college in Dundee, is fascinated by the hidden nature of life in a close. “In tenements we have to live with each other but we often don’t need to have much to do with each other. There are these very basic tacit rules, say, that you don’t throw your rubbish in the close. The way that you actually experience people is through the noise that you hear through the walls. When I lived there I was listening to all this completely weird far-out music. They must have been thinking ‘what is he doing in there because that sounded like a plane lifting off’. Meanwhile, I’m lying in bed trying to get to sleep, constructing all these narratives from the noise I’m hearing.”…
My formative viewing experiences came from the many films and documentaries that my dad recorded from television throughout his video-owning life. Although his timing was somewhat unreliable (films would often miss their beginning or run out of tape before their conclusion), his knowledge and appreciation of British and world cinema were flawless. I am indebted to him for this induction…
Film Luke Fowler
My multi-room 16mm film installations explore the historical complexities of location, sound and film, questioning if it is possible to create a meaningful dialogue between looking and listening…