Laboratory Aim Density: a film set, a director, a set builder, a model: a rehearsal to create a single frame as time and sense unravels..
A project and series of new works based on re-creating LAD “china girl” film frames, the image that appears in the countdown of every reel of motion picture film. Originally, the images were spliced in by film lab technicians for checking that the color and density of the negative is correct during the processing and printing stage of creating the final film. They were often from a camera test of a young starlet or even film lab workers themselves; sometimes they are mannequins men children or an entire still life scene both with model and multiple items of color such as fruits and flowers.
The project is both about film as much as it is about the process and language of film, and the 4 dimensional space it occupies both physically in a space, in the making of the set and shooting and as single frames that eventually create an entire film. Laboratory Aim Density is about the creation in time of a single frame, which in turn becomes a durational piece of its own. The performance is an extract from a series of films being produced by IS Rejkjavik-based artist Rebekka Erin Moran whilst travelling through Holland and Germany this summer.
Rebecca Moran graduated from the School of the Art Institute in 2000 before moving to Holland and subsequently Reykjavik in 2005. She has exhibited internationally in cities such as NYC, Chicago, Rotterdam, Köln, Tokyo, Paris, and Reykjavik. Her work delves into a subjective approach to the everyday. Finding danger in boredom, absurdism in the mundane, home in nomadicism, intimacy in the unexpected; finding the point where the clash of opposites creates its own form of coherency. Visual paradox or thematic antonym underlies much of her work; a search of sorts for the fault-line inherent in all things.