Q: Can you explain more about the Iris-in and Iris-out effects you have adopted in your work?
A: In a world where the influence of pop-culture cinema and the subsequent filmic techniques are having a greater effect on how we, as artists, see the world it can be interesting to satirize their ingrained forms and structures. By applying the ‘Iris-in’ and ‘Iris-out’ filmic techniques of framing onto mundane scenarios the significance and composition is placed askew. In motion pictures there is a stigma associated with a harsh vignette that a critical action or crucial reveal is about to take place.
Q: Can you explain more about this phenomenon in popular culture and film?
A: A popular example of this would be the character entrances in FW Marnau’s Nosferatu (1922) or the pivotal scenes in Robert Weine’s The Cabinet of Dr Caligari (1920). By placing a harsh vignette (using a toilet roll tube slotted into a 50mm lens) around a solitary object the viewer is challenged to look again at the object and reevaluate the entire image.
Q: How do you consider your work produced for the Glocal project?
A: I am fascinated by the question and process of, “What is being excluded in the frame? The goal of this alternate method of taking photos was to playfully twist cinematic methods and as a result challenge the viewer to reassess common scenes and scenarios when they appear with intensified focus.
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