‘Manuscript’ is here meant in the sense ‘written by hand': the manner in which the video component was created. The hands of both a pianist and a signer for deaf people were videoed and edited into a ‘score’ forming the basis of an imitative performance by movement artist, Jo Fong. Jo’s hands glide and twitch in response to the manuscript formed of fragments of movement from those two experts of gesture. But this is also a musical manuscript in reverse. The hands shake and jerk to the drums we see and hear in the space, providing a surrogate for the haptic activity implicit in the sound of the drums, but which we do not actually see: both rupturing and cementing the seen and the heard.
The process of videoing the hand movements – the ‘score’ being slowed down to enable a detailed emulation – finds a counterpoint in the second video element which takes frames from a film and interpolates between them, rendering the un-recorded moments when the camera’s shutter cast a shadow momentarily over the passing film stock.
I am an artist based in South Wales whose primary materials are sound and video. These materials are worked upon using digital means through, most often, the building of custom software applications. I see my work as moving, with some uncertainty, between the abstract and the concrete, between narration and non-communication, thus my practice is an attempt to locate myself in the world and to discover and reveal those moments when spirit and substance are allied in the form of an artwork.
Recently I was funded by Arts Council for Wales to carry out research at the School of Optometry and Vision Science into the practical application of eye-tracking technology. This research also enabled me to work with choreographer Jo Fong.
The Velvet Lantern, the overarching title for my exploration of the materials of cinema, of which Manuscript II forms a part, has had three major incarnations at Experimentica festivals (Chapter) and a further two: a live performance version at the Royal Welsh College of Music and Drama and a fixed media version at Oriel Davies Gallery.