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Shane Waltener's images transcend what's happening
here and now and trade that for the production of something which echoes
the rhythm of a documentary film, like extracts from an experimental screening
on the meaning of exposure, for example. Some are like listening to a trance
beat against a background light projection by El Lissitzky. The black drop
and the layered shards of yellow, green, and orange suggest a condensed
effect of montage and the performance of a color show, yet soundlessly.
Others are like found, discarded stills from a conceptual animation, in
which infinitely moving particles of light are cast and collected into a
single frame of saturated, glowing, pulsating light, or stripped horizontally
as vapour trails, not changing much from still to still, but still subtly
moving, and suggesting the gasping sound objects make when they move through
air with speed. They create a visual experience which asks of its audience
to listen for a missing sound in silence, evoking the short takes in Stan
Brakhage's projections, just as mutely loud and arresting as that, without
giving any answers away.
Guadalupe Nunez-Fernandez |
