Untitled Document

In-flux, 2008

Digital animation, projection, and sound, 4’20” based loop

This work, created by digital animation of sand glass as an object refers visually to the steady and stable form, columns, of the internal place. Yet, this stability, perceived through visual information, turns out a fluidity in a particular rhtym via an aural experience. The rhtym, along with the digitally animated wood balls, supports both the stability of the columns, and the audi-visualisation and diffusion of the sound in the internal space. Whilst the move of the wood balls synchronizes with the flow of the sand, the viewers/listeners can experience the work in accordance with his/her location through hearing the balls’ flap onto the column, the flow of sand and the sound of breath.

The animation, lasting four minutes and twenty seconds, lays the foundation of the digital construction. By animating the columns constituted by the wood balls in eight different ways, the sand glass reveals several rhytm probabilities. While the columns visualize the fluid sand, which is the detail of the sand glass, the flow creates a united whole thanks to the synchronized or rhytmic moves of the sand and the balls. The flap of the balls, which constitutes the sound, enlarges and visualizes the sand granules on the one hand, and amplifying the sound of the flowing sand, makes it aural, on the other. In this way, the possible communication during the audi-visual experience is contained spatially and reproduced.

This animation is a construction aiming at perception of the undergone time slot. The current elements are visually integrated by the sand glass forming a column getting on top of each other, and the impression that the moving balls give the impression that they are carved out of a single tree. Stabilizing in the form of a totem-like column, the flow which provides the continuity of the animation brings about the continuity of the form. The sand glass stands for the fluidity of the time, and the moving balls for the integrity of the time and the space. These two different forms interact as a process with each other, and convey their continuity to an infinite space.

The breath, of which non-recurrence, not recurrence, is worrying, is, no doubt, a sign of the synchronizer of the living body. It causes to feel how we perceive the life and the time in our minds. Even though frequent and jerky breath is the expression of congestion, excitement or fear, it is the time which enables us to perceive the affliction or pleasure of this. The time which appears to us short when we are in panic, and long when we are in annoyance, turns out light and brings about satisfaction when we are in peace. The perception of the spaces and occasions in that particular time spatializes these definitions. This is the internal effort of the (post)modern person to individualize him/herself in accordance with the time and space –a spatial perception of how we internalize this in-ternal time during this period. The columns, with their totem-like forms, represent a spiritual world upon which we reflect our inner world –an internal space which tries to bind us to that world in incorporating us to our inner time.