Medium: Dual Chanel Projection Interactive Video Projection / Year: 2014.
In order to enter my screen space, one must past through a curtain. There is a projector on the other side of the curtain. In order to fully enter the room, one must step into violent projected images. The curtain will react to these intrusions. It will sigh. This sigh, an erotic reaction to one’s voyeuristic assumptions, will contrast with the intensity of the images projected on the spectator/collaborator. Through this juxtaposition, I appropriate the cinematic nature of eroticism and violence, pushed into confrontation by the viewer’s entrance. I use these two contrasting forces to avoid a direct fetization, to push the audience into a corner, grounding them within the uncomfortable medium of reality. My intention is to reveal their cozy spectatorship and “the systematic violence that had to go on in order for such a comfortable life to be possible” (Zizeck).
Once the audience/collaborator penetrates the screen, they are free to inhabit the physical space of spectacle. They are invited to sit in front of another projection. The projection will serve as a reflection. The audience/collaborator will contemplates their image, an image that has undergone only a slight modification. In the projection, the eyes of the audience/collaborator will be punctured, stabbed by a concealed device. The spectator will thus be caught in their own Lacanian mirror, from which they have no escape. They are forced to remain the eternal spectators, blinded by the very act of looking. In the background, an abhorrent laugh track will be playing, reminding the audience that they are residing within the middle ground of representation. In this no man’s land of screens, the act of gazing itself has been reduced to a violent spectacle. From this location, the act of gazing has no voyeuristic return.