Rhythms, patterns, movement, silhouette, sexuality, personality, sound, all spiral around in an infinite dance of code, recorded within the mathematical increments of a shutter speed. Informed by a simple decision initially, this illusion appears from the darkness, a hand, a cuff of a shirt, a dress, a dragon, a spirit, a UV lit dancer in the night, a cycle of maths and poetry that claims the image.
This collision comes from hours of research and a development of a very old technique that dates back to 1888 - Chronophotography, first invented by Etienne-Jules Marey.
Firstly, we fashioned a rig for the camera inspired by Etienne-Jules Marey’s technique. Then we made a part of a garment, the line of a pleat in a skirt for example and attached this to the model who is dressed, in a black jump-suit. Then through the camera, we begin to see this glitch, the manufacture of the invisible, a distorted mirror in front of us that reveals this hallucination of identity, this set of rhythmic possibilities, the poetic movement of light and shape.
Bruce Sterling once said that generative art was like the acoustic guitar under electric feedback. He felt there was an advent within this new movement, that is being explored in coding and processing sketches; all now further experimented within point clouds, topography and layering of multiple digital formats.
We have returned, to a very early form of generative technology and within this we have produced a cycle of ideas that spins through our complete world; it is the beginning of an infinite at work, a feedback loop of beauty.
Etienne-Jules Marey invented chronophotography and this in turn aided the invention of cinematography. He used this technique to study movement and opened up a way of thought for many artists at the turn of the century including, Malevich, Duchamp, Naum Gabo. Now, we have created a device like his and studied the cycle of this idea, looking into the movement and moment of an idea in creation, a new generative process for ideas.
To conclude, in a world full of so much available information the invisible is marvellous; the hunt for the invisible led by the scientists at CERN, revealed to us as particles smash together at the speed of light or the ‘ dazzling nakedness of the very moment “ Michel Leiris writes regarding the powerful figurative work of Francis Bacon,’…to make the fascinated spectator immediately aware of the bizarre, indeed absurd….’