A fascination about movies led me to explore in a series of photographs the image constituting behaviour of films. Film in itself is linear, at first 16 and later on 24 frames per second, exposed in a continuous time flow, suggesting a realistic elapsing act, which isn’t there at the time of our experience. We don’t see the tiny kinetic fractures between the single frames and therefore give in to the fascination of cinematic realism in the movies. This bit about the tiny fragmentation of the moving image interested me so far as I was trying to find a way to deconstruct the sequence turning it into a single image filled with movement, capturing time and breaking open the linearity of film.
Going through a number of influential movies, I looked for scenes that triggered an interest in me and that were visually challenging, showing memorable scenes that could be remapped in a certain way. Instead of taking the 25 frames per second rate used in PAL (30 in NTSC), I slowed down the sequences at one frame per second, chopping the time flow into distinguishable single units that could be reviewed and overlapped at a later stage.
In regard to the film format I was working with (PAL in this case) I blended 25 of the resulting frames per selected scene into one another creating a totally new image leaving behind ghost trails of different acts culminating into one picture. In some of these photographs you can detect different faces, recognizing them from your filmic memory, in others the body itself becomes something more ephemeral. These images are densely pact with visual information containing different layers of action that can be explored, condensed into one moment of visual experience.
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