Location one & two and other short animations, 2005-2010

In a strangely erotic and moving image, a hand probes the crevice between two surrealistically flowing concrete walls. And most bizarre, a naked torso is penetrated by the John Berger book “Ways of Seeing,” drawing blood, in a horrifying and absurd image that David Cronenberg would appreciate.

KEN JOHNSON for the New York Times

These ultra-short video loops are photo-based animations, where movement, time, and spatial relationship are defined by the deliberate distortions in the process of blending a photo sequence. The pixels from one image are smoothly dragged and melted into those of the next one. The affordances* of spaces and structures are only dependent on the emotional state of the subject, and on the inner logic, or absurdity of each piece.

The human is both isolated and confronted by the absence of any visual certainty, in a state of action, or a state of being unconditioned by purpose. These are obsessive situations with no “resolution”, where each individual action is amplified, and the narrative dissolves through repetition and rhythm.

*Psychologist James J. Gibson originally introduced the term in his 1977 article The Theory of Affordances[1] and explored it more fully in his book The Ecological Approach to Visual Perception[2] in 1979. He defined affordances as all “action possibilities” latent in the environment, objectively measurable and independent of the individual’s ability to recognize them, but always in relation to the actor and therefore dependent on their capabilities. For instance, a set of steps which rises four feet high does not afford the act of climbing if the actor is a crawling infant.

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