| Work Type: | video | | Date of work: | 2000 | | Materials: | mixed media (medium) | | Style Period: | contemporary art | | Subject: | millenium, 2000 | | Technique: | video, projection | | Collection: | Video Postive Archive 1989 - 2000
| | | Description: | The multi-screen video installation 'Wait' takes as its starting point the dramatic tension that surrounds the build up towards the moments when the last millennium changed into the present one.
The work explores the continual universal desire to find significance, and to look constantly for a moment of change. Goodwin captures images of individuals participating in real-life situations, each with their own particular significance. As well as capturing an expectant reveller at turn of the millennium, we're presented with a series of individuals including a football fan waiting for his team to score, a groom waiting to say 'I do' and a relative waiting in anticipation at an airport arrival gate. The tripartite emotional structure of each of these events-anticipation, realisation and aftermath-acts as the blueprint to establish a matrix of emotional states.
The projections of these individuals are in cropped close-up, focusing
on facial expressions and reactions. With a reduction of contextual reference points the imagination of the spectator is activated as they try to assimilate and understand the transformation of feelings that the individual undergoes.
Goodwin interferes with these durations of time, exploring the ways our mind can bend time depending on our condition. When we 'will' a moment to come quicker, time appears to pass more slowly; yet if we seek to prolong a moment we become acutely aware of the speed at which it passes.
By subverting the linear drama of these events through digital manipulation, Goodwin makes time more elastic. After stretches of time just waiting, we jump back and forth over the threshold of the critical moment, accentuating the dramas of the people we are looking at and evoking our innate fascination and curiosity of other people.
As with a number of Goodwin's recent works, 'Wait' manipulates the relationship between the viewer and the viewed through the use of the zoom of the video camera setting up a singular contact between the two that is a delicate balance between distance and intimacy. Spatial distance and optical proximity create an effect that goes beyond documentation giving the viewer a powerful sense of personal involvement as the camera becomes a psychological probe.
'Wait' has evolved as the third part in a trilogy of video installations, including 'About' [1998] and 'Within'[1998]. Each investigates the dynamics of urban public environments exploring the way we look at others and are in turn watched ourselves.
As the spectator of 'Wait' moves around and amongst the suspended groupings of screens, they are able to interact at close-quarters with the various micro-narratives
occurring simultaneously. The images are set within a multi-layered soundtrack of Goodwin's own composition. The elements of the soundtrack, its recurring, shifting cycle of development, crescendo and recapitulation act as a counterpoint both of compliance and contradiction to the structuring of the pictures. Between the visual and aural are possibilities for extended fictions evolved from the original slices of fact.
Presented at Tate Liverpool.
Co-commissioned by FACT and Tate Liverpool.
Financially supported by the Arts Council of England with National Lottery Funds and North West Arts Board.
Additional support: London Arts Board.
With thanks to Helen Baggett, Andrew Burlton, Terry Clarke, Jo Cole, David Finch, Christine Goodwin, Jeff Goodwin, Julia Molinari, Amit Lahav, Julie Redmond, Catford Stadium, Cottle & Austen Circus, De La Guarda, International Petroleum Exchange, London Arts Board, The Lux Centre, Millwall Football Club and The Slade School of Fine Art.
New Commission.
[MORE][LESS]The multi-screen video installation 'Wait' takes as its starting point the dramatic tension that surrounds the build up towards the moments when the last millennium changed into the present one.
The work explores the continual universal desire to find significance, and to look constantly for a moment of change. Goodwin captures images of individuals participating in real-life situations, each with their own particular significance. As well as capturing an expectant reveller at turn of the millennium, we're presented with a series of individuals including a football fan waiting for his team to score, a groom waiting to say 'I do' and a relative waiting in anticipation at an airport arrival gate. The tripartite emotional structure of each of these events-anticipation, realisation and aftermath-acts as the blueprint to establish a matrix of emotional states.
The projections of these individuals are in cropped close-up, focusing
on facial expressions and reactions. With a reduction of contextual reference points the imagination of the spectator is activated as they try to assimilate and understand the transformation of feelings that the individual undergoes.
Goodwin interferes with these durations of time, exploring the ways our mind can bend time depending on our condition. When we 'will' a moment to come quicker, time appears to pass more slowly; yet if we seek to prolong a moment we become acutely aware of the speed at which it passes.
By subverting the linear drama of these events through digital manipulation, Goodwin makes time more elastic. After stretches of time just waiting, we jump back and forth over the threshold of the critical moment, accentuating the dramas of the people we are looking at and evoking our innate fascination and curiosity of other people.
As with a number of Goodwin's recent works, 'Wait' manipulates the relationship between the viewer and the viewed through the use of the zoom of the video camera setting up a singular contact between the two that is a delicate balance between distance and intimacy. Spatial distance and optical proximity create an effect that goes beyond documentation giving the viewer a powerful sense of personal involvement as the camera becomes a psychological probe.
'Wait' has evolved as the third part in a trilogy of video installations, including 'About' [1998] and 'Within'[1998]. Each investigates the dynamics of urban public environments exploring the way we look at others and are in turn watched ourselves.
As the spectator of 'Wait' moves around and amongst the suspended groupings of screens, they are able to interact at close-quarters with the various micro-narratives
occurring simultaneously. The images are set within a multi-layered soundtrack of Goodwin's own composition. The elements of the soundtrack, its recurring, shifting cycle of development, crescendo and recapitulation act as a counterpoint both of compliance and contradiction to the structuring of the pictures. Between the visual and aural are possibilities for extended fictions evolved from the original slices of fact.
Presented at Tate Liverpool.
Co-commissioned by FACT and Tate Liverpool.
Financially supported by the Arts Council of England with National Lottery Funds and North West Arts Board.
Additional support: London Arts Board.
With thanks to Helen Baggett, Andrew Burlton, Terry Clarke, Jo Cole, David Finch, Christine Goodwin, Jeff Goodwin, Julia Molinari, Amit Lahav, Julie Redmond, Catford Stadium, Cottle & Austen Circus, De La Guarda, International Petroleum Exchange, London Arts Board, The Lux Centre, Millwall Football Club and The Slade School of Fine Art.
New Commission.
| | | Source: | "Video Positive 2000: The Other Side of Zero", festival catalogue | | | Date of source: | 2000 | |
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