BioGeoMetries | Therianthropes | Lessness | Sonitus Urbanitatis | The Morphing Aphrodite | Sissyphus | Difficult Journeys | The Portrait of the Artist as a Young Prostitute | Living With Colours | Dancing Landscapes | Fear Is A Man's Best Friend | Afternoon Echoes | Home | Camera Travels | Forest Loops | Still Lives | Pyrkos | The Machine Dream | The Liquid Reality | Cross-country Run | | One Day At The Quietest Sea | 2000 Miles (and thirteen years) | In between | Early Videos | Ars Moriendi
In video and cinema, as Christian Metz (*) has shown, the spectator does not identify with the characters but with the camera and the projector, the cone of light that resembles the area captured by the lens as well as the scope of eye vision. In this work there is not a single perspective set up but a multi-camera composition on two screens. Singular identification is not possible. This is not a unified and individualistic quattrocento gaze but a multiple perspective of people, of groups, of a society on the move with bumps and jolts, not in a smooth linear fashion. Because we are not a monad but an amalgamation of many individuals. Whether we are heading for Ithaka or the heart of darkness it is open to interpretation…
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