The installation ‘A day in a life, a life in a day’ is a multimedia installation which runs in a loop of approximately 30 minutes.
In traditional narrative time-based cinema the frame confines, excludes and centers, but at the same time there are narrative codes invented that seem to make us forget this. When a person disappears off-frame, he doesn’t fall off the screen, but disappears in time.
My video archive is like a book of notes. For this installation I started reviewing my video archive of the past few years. Than I started to cut up and connect a selection of images to create a visual and conceptual dialogue between them. It is not so much a traditional story as it is more connected to the rhythm of poetics. The 30 minute experience floats from casual daily life subject matters to questions of more existential substance. The aesthetics of the work (frames within frames, a moving image that projects on a fixed image) are connected to my continuous research revolving around spectatorship, positioning and framing. A day in a life, a life in a day is also a play on ‘opening’ up the frame and to shift positions in understanding a frame conceptually as well as formally.
It becomes an ‘ambiguous frame’, when something seen in the frame is neither visible nor invisible, but half-visible. In fact, something else becomes visible: other features of the world, inducing a self-referentiality that eventually points to the observer and his perception.
I A day in a life, a life in a day, where the frame can be observed inside the frame, as a frame does not only relate to an outside, but can point to the inside as well. Alternatively, one can also refine distinctions. The frame as well as the content becomes ambiguous, because it seems one is looking at something else, due to earlier experiences, conventions and hence expectations. Such expectations are part of ‘cognitivism’, how elements in the image make you understand a work. Reflecting upon the frame and its content, you are invited to reconsider conventions. Something familiar becomes unfamiliar, or at least different, as soon as conventions are left behind, and one starts to experience. This is a phenomenology of the everyday, where the observer comes in, to experience his conditions.