Simon RingeHome page 1998 index page 1 |
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In the building's previous history as the Nautical College the EICH Gallery was known as the tankroom. It was used as a testing platform for boat hull designs in controlled weather conditions, using a wave machine. This proved to be a major factor in developing the work for the space, mimicking the space's previous history and extending the visual dialogue of a tankroom to encompass further notions of transport and migration. The work is an experimental development from my photographs towards the non-static: the moving image, which offers further and longer narrative possibilities. Using certain ideas and narrative readings in conjunction, taken from amber street lighting, fog and stalking, the piece explores notions of the voyeur, vulnerability, isolation, expectation, the predatory, clarity and uncertainty. Extending the tankroom's internal activity externally into the gallery space and beyond, mirroring perhaps our own journeys. |
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MYTH WINDOWMYTH WINDOW and 'Swiss Tony' by Alan HarknessSuddenly you are turned outside-in, wayfarer. Your old voyeurism (a habit, an architecture, power-gazing, looking in or out upon a legible world) becomes instead a feel for another spatiality: myth window.Such fragmentary trajectories; shark-like balletic shifts in space seem on the edge of everything - they are 'down below', unreadable, advancing and engulfing. Mortal combat in a corner. I can see you, wounded by eerie-ness, in some amniotic amnesty of desire: hail car without a code! Come drive to the drives themselves, undone, in near exhausted light and air. See, tigerish heads patrol and turn in fogged absence. The pursuit is a machine. The flight is memory. The patterns are uncanny. On your way, Wandersmanner. Back out.
Swiss Tony: "See the fins on those sexy (crashing) dread-locked cars?"
MYTH WINDOW and 'Swiss Tony' by Alan Harkness |
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