The first work, Depersonalisation looks at experiential individuation literally as lived experience: the terror of a non-person as a medical condition, is particularly striking (loss of hope, meaning, intention). The second work STAY touches on the nature of control, domesticating and being domesticated through a removed perspective of a training ground. The third work How Would We Know It…showcases multiple subjects’ lived experiences, where perception and memory play important roles. Pattern recognition is key here: repetitive and but highly subjective being give us a glimpse of the generic human.
(the first two files are password protected. Please contact me for viewing)
A subject on screen has a medical condition or disorder known as ‘depersonalisation’ where she relates a detachment, within the mind and the body, almost as if witnessing her being from the outside.
In a car workshop between the pristine surfaces of car parts and archetypes of mass production, a construction of power is unfolding. A Doberman Pinscher and its owner are the protagonists. The camera floats through the space frequently encountering a dog posing in standstill, commanded by a disembodied voice coming from somewhere in the workshop. A Doberman is a special breed, it is constructed out of many different types of dogs for the purpose of guarding, often used by police or military. It is specifically gracious, loyal, and potentially aggressive to strangers. It needs severe training. Both the owner’s and the dog’s consciousness are formed within this relationship. By the obedient appearance of the dog, it seems to concede to the rules it’s been given. But by knowing the rules it starts to gain power itself. In the constant intermingling of the concentration on the dog’s behavior and the hypothetical assumption of what the dog might do, we recognize a ‘manifest’ and a ‘scientific’ vision, being different but in continuous movement with one and another.
How Would We Know It If We Couldn’t Feel It; 2017
Lived experiences are not as uniquely singular and as impenetrable as we think they are; they are artificial and incomplete. Using the precarious see-saw between indulgence and enquiry, the work tends towards the generic individual as a pre-condition of thought; where time is not understood at the level of this singular lived experience; being and non-being are in tandem with each other. To truly consider the non-individual would be to accept the generic; to consider thought as non-subjective and irreducible to ourselves, we have to find a useful way of embracing the generic without autonomy or authenticity. Three individuals are seen in conversation with each other, recounting some of their most personal moments.