Jeremy Evans Works

recent works

#22

The sea exists without time, appearing to be a never-ending repetition with small variations according to tide and the moon. This sea is never ending and has no variation, it is infinite as a result of the infinitesimal snapshot that this is.

#21

Are we moving or are we not? What makes us perceive movement? Is this a soundtrack to real movement or the sound of movement? We fill in the gaps; we create a narrative as we move around in our daily lives. It is this filling that is the structure that we adhere to, that is our identity, our way of making sense of the world. And it is this narrative that gives us time, through which we become aware of the narrative and the order in which it happens.

Developing the ideas of works #C1 and #C2, this piece takes the viewer out of the natural existing world and into nothing as a place and as a state of mind. Although the image does in some ways reference a seascape. However in using the non-focussing technique and again suggesting the question ‘what am I looking at?’ this piece answers it with nothing.

I wondered if we can look at nothing and what actually that means because in reality we can’t look at nothing, only something that we label and therefore treat as nothing. But if we give that nothing time, that nothing becomes something by virtue of the act of giving it time and attention. I am very interested by the idea of nothing and the counterpoint of everything and the possibility of something being both at the same time.

This piece is an examination of artistic intention and whether it can be taken out of work. I am very interested in the idea that a viewer / listener etc. can only truly receive a piece of work if there is no push from the artist to the viewer. The push is created by certain uses of artistic language, for example, slow motion in video or key changes in music which lead the viewer to receive in a certain way because of pre-conceived attitudes to these elements.

In making this piece I left the camera on auto focus, as in C1, so that it reacted randomly to the movement of the trees as it struggled to focus on them. The trees were placed in the corners of the screen so that there is no centre, or point of focus to the piece. I also allow technical errors to remain in the work, in this instance the images slip while the soundtrack remains consistent, so the viewer ends up in a situation of dissonance whereby sounds occur behind the image and the disparity grows over the duration of the film.

I wanted to produce a piece that through using a structured artistic form and representing it in an unrecognised way makes one perceive it differently and removes the intention from the original piece. Thereby re-addressing ‘what is music’ and the idea, which I develop later of ‘what am I looking at?’ does it make sense in the normal way of perception?

I also use small interventions with the technology, so in this case, the camera is unable to focus, thereby articulating the situation that many of us find ourselves in when we do not wholly experience a situation because we are too busy doing something else, e.g. filming it and trusting our experience of something to technology which can only give us a removed version of the event, even if we filmed the event ourselves.

It is argued that men generally define themselves through work. By carrying out an activity, which alludes to both the masculine model of office activity in the more feminine domestic environment, the work, through a repetitive non-descript activity, questions what a definition of masculinity through work means.

By bringing together the two areas together the work focused on neither, whilst also pointing to the area of ambiguity that exists today in the realm of work and gender identity. The work was made by taking a photograph every ten seconds and then blending the images together to form a piece which is neither photograph nor video but alludes to both, further reinforcing the ambiguity and reflecting on the function of both.

I held the pose as long as I could, this is not a photograph, it endures and requires endurance to watch and make. If we operate in the realm of storyboard nowadays what is the point of a video without a story? When images such as this were being made, men ruled the world; today men are more exposed. In western society we have to face up to ourselves in a way we never had to before, perhaps we just aren’t very good at it.

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	recent works #22 The sea exists without time, appearing to be a never-ending repetition with small variations according to tide and the moon. This sea is never ending and has no variation, it is infinite as a result of the infinitesimal snapshot that this is. #21 Are we moving or are we not? What makes us perceive movement? Is this a soundtrack to real movement or the sound of movement? We fill in the gaps; we create a narrative as we move around in our daily lives. It is this filling that is the structure that we adhere to, that is our identity, our way of making sense of the world. And it is this narrative that gives us time, through which we become aware of the narrative and the order in which it happens. C3 Developing the ideas of works #C1 and #C2, this piece takes the viewer out of the natural existing world and into nothing as a place and as a state of mind. Although the image does in some ways reference a seascape. However in using the non-focussing technique and again suggesting the question ‘what am I looking at?’ this piece answers it with nothing. I wondered if we can look at nothing and what actually that means because in reality we can’t look at nothing, only something that we label and therefore treat as nothing. But if we give that nothing time, that nothing becomes something by virtue of the act of giving it time and attention. I am very interested by the idea of nothing and the counterpoint of everything and the possibility of something being both at the same time. C2 This piece is an examination of artistic intention and whether it can be taken out of work. I am very interested in the idea that a viewer / listener etc. can only truly receive a piece of work if there is no push from the artist to the viewer. The push is created by certain uses of artistic language, for example, slow motion in video or key changes in music which lead the viewer to receive in a certain way because of pre-conceived attitudes to these elements. In making this piece I left the camera on auto focus, as in C1, so that it reacted randomly to the movement of the trees as it struggled to focus on them. The trees were placed in the corners of the screen so that there is no centre, or point of focus to the piece. I also allow technical errors to remain in the work, in this instance the images slip while the soundtrack remains consistent, so the viewer ends up in a situation of dissonance whereby sounds occur behind the image and the disparity grows over the duration of the film. C1 I wanted to produce a piece that through using a structured artistic form and representing it in an unrecognised way makes one perceive it differently and removes the intention from the original piece. Thereby re-addressing ‘what is music’ and the idea, which I develop later of ‘what am I looking at?’ does it make sense in the normal way of perception? I also use small interventions with the technology, so in this case, the camera is unable to focus, thereby articulating the situation that many of us find ourselves in when we do not wholly experience a situation because we are too busy doing something else, e.g. filming it and trusting our experience of something to technology which can only give us a removed version of the event, even if we filmed the event ourselves. #7 It is argued that men generally define themselves through work. By carrying out an activity, which alludes to both the masculine model of office activity in the more feminine domestic environment, the work, through a repetitive non-descript activity, questions what a definition of masculinity through work means. By bringing together the two areas together the work focused on neither, whilst also pointing to the area of ambiguity that exists today in the realm of work and gender identity. The work was made by taking a photograph every ten seconds and then blending the images together to form a piece which is neither photograph nor video but alludes to both, further reinforcing the ambiguity and reflecting on the function of both. #5 I held the pose as long as I could, this is not a photograph, it endures and requires endurance to watch and make. If we operate in the realm of storyboard nowadays what is the point of a video without a story? When images such as this were being made, men ruled the world; today men are more exposed. In western society we have to face up to ourselves in a way we never had to before, perhaps we just aren’t very good at it.
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