2.35:1, HD large scale installation or cinema screening, 29 Min 36 Sec, 2014.

Filmed in conjuntion with the Red Mansion art prize 2012.

With music composed by Frantisek Chaloupka Here!.

Here I represent the democratic camera, the objective destroyer, that abysmal failure to intervene. A supersaturated realist representation usurped by acetic nullification and the guilt of viewing the other. Hard cutting from images of social hardship, historic trauma and overwhelming landscape to sublime images of clouds, I am trying to represent both the instinctual aversion of society from problems and my utter inability to comprehend the existence of social-geographic contradictions.

The subjective landscape Orwellian, a not so distant future, of exaggerated observed present, witness the totalitarian state, the post totalitarian state and the orthodox democratic capitalist state. I ask when does orthodoxy become totalitarian regime? When society withholds sovereignty by enforcing democratic opportunity? Photographic High Definition Equality undermines individuality, comparative differences, back stories, facts and names are dispatched. The car the tramp the prison camp and the crippled dog objectively eviscerated by anthropic castration.

Nature’s representation is updated to include the unification of the obsolete pristine landscape with landscape of human failure, prescientific holistic wisdom is applied to the labyrinth of the megalopolises. Rubbish, latrines and rubble are all wrapped unconditionally in sublime embrace. The anarchic regression to primitivism and the collectivisation of humanity both wantonly pursued.
Is it then any serious attempt to document social injustice? Surely it only leads to the same confusion that I myself was all too aware of standing there with the camera.

Ultimately imperfect in its democratic representation, a self-debasing finality erases all memorandums; an event horizon enforces relativity, The density of incomprehension represented by two Ariel shots of clouds from above totaling seven minutes. Thus through the sublime the horror is simultaneously moderated and elevated as the enduring shot first asks you to re-imagine the images you have seen before failing memory and acetic trance remove them again.