Samples of Current work
Reductive Video
Mirror Minus
12’ x 9’ (projection. dimensions variable)
2014
Interactive Installation
Mirror Minus
documentation of “Yoga in the Gallery” and captured still
Rosewood Art Center, Kettering, OH
05-02-2014
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)
13.6” x 10.2”
(detail from For Love)
2010
Reductive Video Image / Archival Inkjet Print on uncoated Rives BFK
additional detail images: https://stevenhsilberg.com/2010/01/10/for-love/
For Love (071)
13.6” x 10.2”
(detail from For Love)
2010
Reductive Video Image / Archival Inkjet Print on uncoated Rives BFK
additional detail images: https://stevenhsilberg.com/2010/01/10/for-love/
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
Female Cyclist – Left Lateral View, 2009
21” x 11”
(detail from After Muybridge / After Marey)
2010
Reductive Video Image / Archival Inkjet Print on uncoated Rives BFK
Male Juggler – Anterior View, 2010
21” x 11”
(detail from For Love)
2010
Reductive Video Image / Archival Inkjet Print on uncoated Rives BFK
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
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.
Chicago O’Hare International Airport – Gate B8 – Looking North, 02/02/08, 1000px/s
9” x 12” (framed 14” x 17”), 18” x 24” (framed 22” x 28”)
2008
pixel-lapse (experimental digital process) / Archival inkjet print
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 proposed exhibition “Experiments in Reductive Video” would include the interactive installation, “Mirror Minus”, and prints and videos selected from the the other projects of work within this body of work — “For Love”, “After Muybridge / After Marey”, and “the Reductive Video Location Studies”.
Steven H Silberg 