Exhibition Proposal: “Experiments in Reductive Video”

Samples of Current work

Reductive Video

Mirror Minus
12’ x 9’ (projection. dimensions variable)
2014
Interactive Installation

Yoga in the Gallery

Mirror Minus
documentation of “Yoga in the Gallery” and captured still
Rosewood Art Center, Kettering, OH
05-02-2014

For-Love-installed

For Love
84” x 40” (15 images each 13.6” x 10.2”)
2010
Reductive Video Image / Archival Inkjet Print on uncoated Rives BFK

For Love (089-b)

For Love (089-b)
13.6” x 10.2” (detail from For Love)
2010
Reductive Video Image / Archival Inkjet Print on uncoated Rives BFK
additional detail images at: https://stevenhsilberg.com/2010/01/10/for-love/

After Muybridge / After Marey

After Muybridge / After Marey
Dimensions Variable (images depicted are at 24” x 13.5”)
2010
Video Loop & Archival Inkjet Prints on Uncoated Rives BFK

(detail) Exhibition loop from “After Muybridge / After Marey”
TRT 3:29
2010
Video Loop

Baltimore Light Rail – Mount Royal Station – November 2009
TRT 0:25
2009
Reductive Video Location Study (video loop)

Cape Neddick, Maine – August 2007
TRT 4:45
2009
Reductive Video Location Study (video loop)

Pixel-Lapse

Pixel-Lapse

documentation: “Pixel-Lapse Photo Booth” (MICA, Decker Gallery 2009)
Dimensions Variable
2009
Interactive Installation (computer, webcam, monitor, custom electronics, printer)
additional archives of images at: http://www.pixel-lapse.com

Pixel-Lapse Photo Booth
2008 / 2009-present
TRT: 2:00
Video documentation of the Pixel-Lapse photo booth installed.


Experiments in Reductive Video

As television broadcast has moved to digital, we have seen the increased presence of glitches in our programming. Videos freeze and as the programming resumes, we become privy to the inner workings of the process of how the image is stored and transmitted. Movement and color shift are rendered as changes rather than wholly new images.

As we begin to store and record information, we have always chosen to fracture it. As one looks to the locomotion studies of Muybridge, we see a fracturing of movement into individual frames, revealing the elements of movement. But movement has form when we move beyond individual images. The glitches that we see as digital video recovers from a paused broadcast reveal the form of what is to come. The history of long exposure photography shows that motion can become shape – whether through the techniques of painting with light, as one sees with the Picasso images of Life magazine or in Nancy Breslin’s pinhole “Square Meals.” Marey similarly chose to show the form of movement over time in a single still image.

This body of work entitled “Reductive Video” borrows the choice to depict changes in movement (either as individual frames or wholly contained in a single image) and applies it to the technical rendering of images. Using custom software written in Max/MSP/Jitter, video is broken down to reveal only the pixels that change from frame to frame, no longer implying form, but instead the shape of what has changed from the previous frame. Resequenced as video, the individual frames become reminiscent of Muybridge’s silhouetted running horse. These individual frames are also layered to become a single image, showing changes in shape, reminiscent of Marey’s use of while lines on soldier’s uniforms – depicting a “wire frame” of physical movement.

The exhibition “Experiments in Redutive Video” would include the interactive installation, “Mirror Minus” and prints and videos selected from the rest of the body of work selected from “For Love” (submitted in this application), “After Muybridge / After Marey” (submitted in this application), and videos from the Reductive Video Location Studies.

[artist’s statement] [artists’s bio]

Advertisements