Centre of Contemporary Photography.
Steve Carr, Greatest Hits, Lou Hubbard, Taree MacKenzie & Justene Williams. Co-curated with Patrice Sharkey. 2013
FX explores the camera’s ability to manipulate viewers’ perceptions and expectations, with a focus on artists who use lo-fi technology and simple visual effects within their video practices as a means to deceive and enthrall. Each work in the exhibition stretches the viewer’s understanding of video as a medium to record the visual world and seeks to acknowledge the ways that filmic techniques have been employed and adapted by artists in their visual practices.
Using the extreme slow motion of a high definitionscientific video, Steve Carr’s Screen Shots 2011 documents paint-filled balloons in a variety of colours as they burst open. This spectacular video’s dramatic use colour can be seen as a painting in motion. Also using the material of paint but to more subtle effect, Taree MacKenzie’s video of white paint explores the optical effects of light as a source of colour. Greatest Hits celebrate pre-digital and lo-fi filmic techniques in Night/Day 2009, which deceptively depicts a campsite under the night sky. Lou Hubbard lightheartedly plays with the framing of the filmic image in Fruit Loops 2012: through repositioning footage of a small toy train, Hubbard doubles this screen grab, creating an endless loop through which the train exits one screen only to enter another. Developing elaborate DIY sets and costumes from magazines and other discarded materials, Justene Williams’ series of video works also recycle a number of art historical references from Monet to Dada to depict camouflaged performers that carry out absurdist and repetitive actions that career almost out of control.