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Stage Fright is an orchestral piece of electronic music in the form of a multiple video installation. It is a collaboration that creates an installation, which is an extension of three artistís practices: Laura Buckley, David MacLean and Haroon Mirza.
Using Laura Buckley's video as the starting point from which the audio is composed, the footage documents the deliberate and incidental nature of the everyday. From the gestures of the camera, to the movements, materials and structures within the frame the moving picture generates a sensation of choreographed moments of delicacy. The media's ability to capture these particular moments is suggestive of the camera's dual function as a tool of insight and its ability to project its findings. From this footage, via a process of editing and assemblage, audio is created to construct and reconstruct a score. By isolating and removing the sounds of the original footage they are framed as music in their own right.
A kin to the collaborative process, the physical installation is an immersive multi-perspectival environment of divergent and cognitive spaces. Multiple fragments of the video are projected throughout the gallery, reflected by, within and upon sculptural forms; they rebound across the walls extended by the forms and surfaces upon which they are cast. Varying in size and shape the three dimensional forms made from steel, mirror and Perspex disperse the already fragmented projections against the sculptures material qualities of translucent, reflective and hard surfaces. All this is framed by four independent channels of the song.
The world embodied in the original video has gone through a series of alterations, repetitions and extensions and this is reflected in the environment that the installation creates; appearing as if it has been interlaced with a series of concomitant and palimpsest realities. These converging elements present in Stage Fright are at once a repercussion and a re-iteration of the malleable qualities of technologies and their aesthetic forms. Both audio and visual components highlight the complexities and possibilities of representation; signal and display.
Stage Fright can be seen as an expanded dialogue of all the artists concerns, stemming from video, and using the mechanisms of art to seek alternative ways to produce and perform music.
For the exhibition Fishbone extends the viewing processes in his earlier work by focusing on the reaction of the viewer to a brand new video installation. Twelve protagonists watch the video in real-time, for the first time, in an altered state of consciousness. All have been hypnotized. How natural are our responses? How predisposed are we to respond in certain ways? The work is no longer just its tangible limits but has extended to include the audience reaction and the viewers personal and relational space. Doug Fishbone's installation, video and performance works place the viewer in an awkward position. In his videos and performances the artist will more often than not ransacks Google Image Search to illustrate and undermine his arresting, repulsive and undeniably amusing monologues on contemporary media and our cultural, social and political (sub)life. In this instance Fishbone creates a multi-perspectival environment, which uses video to create the space of an interlocutor between cause and effect; image and meaning.
Mixing technology and techniques associated with both video and installation practice the two works in the exhibition employ a re-application of media to challenge the artwork/viewer relationship. The role of subjectivity and consciousness is framed as a unique and multifarious experience, one that encourages different temporal and spatial cognitive responses in the viewer. For instance, in Stage Fright, the exchange between elements present in each of the artists practice, or in the case of Fishbone's the causal force at work in the seamless structure of iconic imagery, play with what gives momentary experience a particular quality. Through processes such as real-time transmissions, hypnoses, collaboration and splicing and montage the artists are exploring phenomena and experience in different and overlapping ways. Using media not as a means to an end, but as causal agency in an expanded domain, the exhibition goes some way to explore how the viewer's conscious experience is an exploration of phenomenology; as things that occur in time and of ourselves as temporal and spatial beings and the complexities that arise within multiple experiential existences.
Doug Fishbone was recently selected for the British Art Show 6 and his work was included in the exhibition 'Laughing in A Foreign Language' at the Hayward
Gallery earlier this year. Fishbone was born in Brooklyn, New York; graduating from Goldsmiths in 2003 he now lives and works in London.
Irish born Laura Buckley completed her BA Degree at the National College of Art and Design, Dublin; in 2006 she completed a Post Graduate Diploma and in 2007 completed her MA, both at Chelsea College of Art and Design, London. Recently her work has been shown in Material Presence at 176, London, and in the Derek Jarman Film Programme at the Serpentine Gallery, London.
Haroon Mirza completed an MA in Design Critical Practice and Theory, Goldsmiths College in 2006 and an MA in Fine Art at Chelsea College of Art in 2007. He was selected for newcontemporaries 2008 the same year that he had a
solo exhibition at Cell Project Space. His work has been included in group shows in Vienna, Chicago, Dundee and elsewhere.
David MacLean is and artist and musician who has exhibited and performed internationally As HUGO PARIS, DJ/producer. David MacLean is also a member of the band, DJANGO DJANGO.
With special thanks to the support of Camden Council