In a short narrative that transitions from representation of a figure to an abstraction, BMB (can't say goodbye) reveals a secret limit that can be passed in one direction but not in the other.
The emotion of feeling trapped is wistful and sometimes, oppressive. Hostiou uses glass, and water, a glass-like substance, to speak of invisible barriers such as time. Desiring for a view of the city, a woman is able to enter her balcony through a large, open window. But she is unable to return into the room because the open space now bears an impenetrable transparency. The only - and momentary - indication of this surface is the vapor of the actor's breath, soon replaced by streams of water running down the glass plane as though they were tears on a face. Trapped, the world behind the woman becomes dark. The subject disappears behind the torrential wall of water, only to leave behind a few streaks of water on the invisible glass pane and a few dots of light in the background.
Through this mutation and disappearance of space, location and person, Hostiou presents the notion of time as a filter for matters or actions one way but not backwards. Her work is unique in this festival for the way in which it shift the perception of glass' invisible hardness : as a one-way membrane. In doing so using video, she weaves doubt between absence and presence to represent two states of mind, time or situation.
The emotion of feeling trapped is wistful and sometimes, oppressive. Hostiou uses glass, and water, a glass-like substance, to speak of invisible barriers such as time. Desiring for a view of the city, a woman is able to enter her balcony through a large, open window. But she is unable to return into the room because the open space now bears an impenetrable transparency. The only - and momentary - indication of this surface is the vapor of the actor's breath, soon replaced by streams of water running down the glass plane as though they were tears on a face. Trapped, the world behind the woman becomes dark. The subject disappears behind the torrential wall of water, only to leave behind a few streaks of water on the invisible glass pane and a few dots of light in the background.
Through this mutation and disappearance of space, location and person, Hostiou presents the notion of time as a filter for matters or actions one way but not backwards. Her work is unique in this festival for the way in which it shift the perception of glass' invisible hardness : as a one-way membrane. In doing so using video, she weaves doubt between absence and presence to represent two states of mind, time or situation.
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