Title: The Corner
Format: Documentation of installation
“A house constitutes a body of images that give mankind proofs or illusions of stability.”— Bachelard, Gaston & John R. Stilgoe. The Poetics of Space. Beacon Press, 1994.
The corner grounds itself on the plane of the fragile. It is a project that sits within the interstice, and within this frame of solidity, we see the negative space of solitude; the home, the family, the corner.
The house in this presentation acts as a frame that both envelops and projects. These projected images permeate from within the home. In doing so, they inhabit and acknowledge a sense of ‘presence’. Tentative in their pursuits, the hand-held movements of the camera allude to the maker of the images, and their fragmented and cropped nature intensify the actions within the frame. By capturing a sense of voyeurism and imagined senses, these ‘home videos’ elicit both forms of experience for the viewer and the editor.
The ‘close-up’ gives a sense of integrity to an image of an action. To find a way of encapsulating stillness in action was a push towards angling the camera down towards the feet, to hide the figure but confess its intimacies within anonymity. I have acted as a mobile figure within an immobile space, taking cues from the traversal entity of the flâneur; regarding my imposed limitations within the home.
This body of work reflects that space within the corner, and my proximity with these figures and movements slowly drifts onto the suburban street; noticeable to those who are open to see within this liminality. The use of familial images and experiences prompts me to reflect on the self, whilst speaking to the fragmentation of the familial archive. It has become a way of forming this ‘self’ within and around the home; through presenting and concealing isolated forms of my parents, and to explore the practice of investigating personal and intimate surroundings and how they can permeate into the immediate exterior of a commonly revered solidified structure.
Thematic tags: documentary, feminism, photography, fine art
“Just as in life, one can only really see and hear when one is in a state of availability.” (T. Minh-ha 215).
The interlude, the in-between, and the interstitial spaces in films are traditionally shot by a second unit. I seek to inhabit the role of the second-hand filmmaker, disconnected from the clear narrative of the classical form of filmmaking. I act as a Flâneuse, my camera the wandering eye of my observations. Through investigating these preliminary practices, this work acts as an on-going project that questions ways of organising connections; collecting and montaging images for future thoughts and reflection. In this way the work performs like a photo album. A curated composition that aims to revel in the isolation and fragmentation of familial memories and the family unit. Although curated images may insight a degree of disconnect between family members, they also create a sense of alienation when viewed by a stranger. The stranger must then look in a state of availability, with the responsibility and challenge to form their own narrative, potentially over many sittings.
“As that claustrophobic unit, the nuclear family, was being carved out of a much larger family aggregate, photography came along to memorialize, to restate symbolically, the imperiled continuity and vanishing extendedness of family life.” (Sontag 9). Working with family comes as an intrinsic type of collaboration. Documenting family experience is regularly perceived through the parents eyes, and becomes the child’s responsibility as the family comes to a point of separation. The “claustrophobic unit” performs within a structure that includes several subjectivities. Through my organisation of captured moments, editing with footage and photographs taken by different members of the family, the images become realised and coherent to us as relatives, despite its stagnated structure and resistance to convenient narrative hooks.
To those that are not privy to the omitted experiences, the film creates a place for projected memories. The uncertainty of duration or erratic changes in focus call for the audience to develop their own narratives and way to work around the images. Its position is to thrive on fragile ground. The awkward nature of interspersed static material and long traveling shots invite reflection and discomfort.
Title: Cafe Undone
Format: HD video
Lily Worrall is an Auckland based artist, who has recently completed her BFA at Elam School of Fine Arts with first class Honours, and a BA in Film theory at the University of Auckland. She is a structuralist filmmaker, whose practice integrates familial archives, digital materiality, found materials and feminist film theory.
Worrall’s practice intuitively leans towards capturing the uncanny. Her videos encompass her relationship to family life which meld cinematic narratives to the personal.