|
Who's Online |
|
We have 1 guest online |
|
[PAM] Members Online |
|
No Users Online |
|
[PAM] Profile
Message
Contact Info
| Registration Type: |
Artist |
| Artist / Group Name: |
Geoffrey Alan Rhodes |
| City: |
Toronto |
| State: |
ON |
| Country: |
Canada |
| Website: |
GARhodes.com |
| skype name: |
garhodes |
| Messaging ID: |
garhodes@mac.com |
| Short Bio: |
Alan Rhodes is a filmmaker and installation artist living in Toronto. He has received residency and production grants from the Canadian Fulbright Foundation, The Princess Grace Awards, SUNY college of Arts and Sciences, The Niagara Council for the Arts, York University, and others. He has screened and exhibited at galleries internationally including the Carnegie Arts Center, Hallwalls, Burchfield Penny, and Big Orbit galleries in Buffalo, Toronto's Images Festival, Chicago's Video Mundi, New York's Surrealist Film Festival, Italy's Blue Video, and Warsaw's Jutro Filmu. Alan Rhodes received his MFA in Media Studies from SUNY Buffalo in 2005, and is currently a Fulbright Scholar in residence at York University's PHD Programme in Communication & Culture. Drawing from a background as a composer and performer in Seattle's music scene, Rhodes' work combines formal visual and sound structures with a visceral improvisational gestalt. His recent works explore concepts of time and the mediated gaze through a fractured screen and the fusion of mediums. |
| Additional Comments: |
Artist's Statement
The current digital age contains the second image revolution. The first came with the
mechanical reproduction of an object’s image. This has now been taken a fold deeper;
the virtual space within which the image exists has expanded. It now encompasses
multiple channels, windows, and layers of virtual context, manipulation, and interaction.
My films use this virtual space as a visual language to examine time and the image.
Through resonance between the form and the subject matter, they create a world that
inspires critical thought about these new media forms themselves.
At the beginning of 2003, Alan Rhodes began a series of video shorts exploring multichannel
panel and layering techniques in video. In the first series, Valentine Heart,
Distance of the Observer, Blue Arms, and Timecodes, two main directions emerged.
The first expressed distances and barriers in gazing relationships: Valentine Heart
consists of a long-take of an unseen viewer and the long-take of the couple observed;
fantasmic panels appear and disappear on the screen. Unlike time-based montage, the
relationship between observer and observed is maintained throughout the piece, both
existing in the same screen, forcing the entire video-narrative to exist as an expression of
that relationship. Distance of the Observer combined a video ‘reality’ of a film director
and his two subjects with a panel of hand-processed film superimposed on the frame
presenting the ‘synthetic’ perspective of the film camera. The superimposed panel
functioned as a layer, drawing attention to the action of the filmic-gaze taking place in the
video, and, through the disparity of medium, the separation between shooter and subject.
Blue Arms, a looping video display suspended from the ceiling of the gallery by chains,
displays a video-documented woman erasing her arms to reveal a layer beneath of
photographed nude women. Continuing, she erases her face, to reveal a distorted male
face beneath, which he then erases to nothing in turn. Here the male sexual gaze’s
penetration and masturbatory self-reflection are described in relationship to the virtual
layers of the video image. In the other direction, Timecodes displays three simultaneous
panels of hand-processed film. The different panels stop and start at different points
presenting different moments in the chronologies of simple compulsive actions: smoking,
drinking, shouting, fighting. Frozen panels functioned as a sort of memory, allowing for
metonymic relationships between ‘before,’ ‘during,’ and ‘after’ to be presented to the
viewer.
In 2004-5, these two directions have been continued in three larger works, Great Success,
The Masked Marvel, and Tesseract, as well as a series of small media installations.
Great Success attempts to create a consistent world of differing, layered perspectives that
resonate with a post-modern hyper-narrative. A population of abstracted, performative
characters are layered onto a hyper-real backdrop to express an alienation between
environment and persona: between the bodily performance and the techno-enhanced
world. The Masked Marvel, deconstructs the narrative of a local history—the story of
Monsignor Francis Keliher who wrestled anonymously under the moniker, The Masked
Marvel. The story is broken into modular narrative units, stripped of contextual detail,
and through blue-screen, removed from photographic context; left to resonate in a solely
emotive world, constructed through music and the affective close-up. Tesseract, presents
the story of Eadweard Muybridge in a mixed media, multiple paneled screen. Tesseract
draws a line between photographer Eadweard Muybridge's obsession with photographing
movement and his act of jealous murder in 1873. Muybridge's life and work became a
fracturing of time where duration is sliced, mechanized, and stopped from flowing - this
was a temporal insanity that led to cinema itself: the re-animation of the frozen image.
Muybridge's form, a spatial layout of time, is used here in film. The screen is split into
panels, a moving photographic layout, fracturing our perspective of time, and the
narrative of Muybridge's life. Tesseract is a four dimensional cinema-cube stretching
through time.
Rhodes' latest work continues to complicate the frame to get at new expressions of
memory, time, and the gaze. His two recently produced video shorts, Leaving and
Scopaphilia, perform the act of multiple perspectives. In Leaving, through the projection
of a panel of memory onto the pro-filmic space, the site of performance becomes an nospace,
neither able to leave nor join the virtuality of memory. In Scopaphilia, extra
cameras are brought in to the film frame to play cyborg with the performer and mediate
his libidinal gaze. These situations played out in video, Rhodes is now proposing for the
gallery space in Memory Bear, an installation site that manifests the circuits of channels,
gaze, and memory experimented with in these videos. In Memory Bear, the gallery
viewer is put in the position of performer occupying a site that is between the mediated
virtual of memory and the actual. |
User Status
| Hits |
1016 |
| Online Status |
OFFLINE |
| Member Since |
02-01-06 23:45:34 |
| Last Online |
10-05-08 09:09:37 |
| Last Updated |
02-02-06 03:18:42 |
Video Submissions
| Title of Submission 1: |
Great Success |
| Subititle 1: |
The story of a modern medical miracle |
| Author of Title 1: |
GARhodes |
| Title 1 Publication Date: |
06-30-04 |
| Title 1 lenght: |
4.5 minutes |
| Title 1 Description: |
Using a collage of mediums, an ironic hyper-narrative is communicated through the imagistic language of comic-art: abstracted super8mm characters live within a hyper-real video world. |
| Title 1 Keywords: |
story super 8 8mm video hyper-narrative great success |
| Title 1 URL: |
garhodes.com/GS_Jan30_2004.mov |
| Title of Submission 2: |
Tesseract |
| Subtitle 2: |
Hollis Frampton's Eadweard Muybridge |
| Author of Title 2: |
GARhodes |
| Title 2 Publication Date: |
04-15-05 |
| Title 2 length: |
20 min. |
| Ttitle 2 Description: |
Tesseract draws a line between photographer Eadweard Muybridge's obsession
with photographing movement and his act of jealous murder in 1873.
Muybridge's life and work became a fracturing of time where
duration is sliced, mechanized, and stopped from flowing - this was a
temporal insanity that led to cinema itself: the re-animation of the frozen
image.
Muybridge's form, a spatial layout of time, is used here in film. The
screen is split into panels, a moving photographic layout, fracturing
our perspective of time, and the narrative of Muybridge's life.
tes·ser·act : a four dimensional cinema-cube stretching through time. |
| Ttitle 2 Keywords: |
tesseract hollis frampton eadweard muybridge multi-channel multi-panel split screen |
| Title 2 URL: |
TessearctFilm.com |
| Ttitle of Submission 3: |
Mirror |
| Subtitle 3: |
Self as mediated image is explored through layers |
| Author of Title 3: |
GARhodes |
| Title 3 Publication Date: |
02-02-06 |
| Title 3 length: |
4 minutes |
| Title 3 Description: |
Inside of an impossible shot, GARhodes erases a butterfly from his chest recealing the camera. He tries to make it fly, and ends up dissappearing... except his mouth. |
| Title 3 Keywords: |
butterfly video art layers performance chromakey |
| Title 3 URL: |
media.tesseractfilm.com/mirror2.mov |
Video Gallery
The following movies/photos were added by this user:
Friends & Connections
 Julie Casper Roth
Sylvie Belanger
Soyeon Jung
Pauline Muto
Robin Brasington
Arzu Ozkal Telhan
Dietmar Krumrey
Adriane Little
Christopher Coleman
Aaron Miller
Comments
|
![video art [PAM] logo](http://www.perpetualartmachine.com/templates/corp/images/video_art_pam_26.jpg)
