Swiftly Go the Days, is a two-channel video instillation that presents a static view of a streetlight against an expanse of sky. Shot at the witching hours and running in real time, each video is a patient observance of the streetlight turning on and off and in the process, documenting the subtle atmospheric changes and activities passing through the frame.
The instillation positions the viewer between two opposing projections - dawn on one side, dusk on the other - that cycle endlessly in an hour long loop, all the while a soundscape of ambient noises from both the outside world and the domestic sphere engulf the room. The effect is dislocating; one is situated in an unsettling liminal zone where time becomes elastic, collapsing in on itself like a Mobius strip.
The opposite of spectacular pleasure, the film mimics the hypnotic experience of aimlessly staring without blinking. A kind of meditative stasis arises, producing a seemingly contradictory state of hyper-presence and disembodiment. One oscillates in a tenuous psychological space between interior and exterior, the conscious and unconscious mind. As time moves slowly forward, it is calming and tedious in turns.
Although the mundane narrative of the lamppost is an image from the artist’s personal history, it becomes an abstract symbol standing in for all moments of quiet introspection. While waiting in lackadaisical anticipation for the light to turn on or off, one discovers the poignancy of being still and letting go.
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