PREVIEW: 4th November 2014, 6.30pm – 9.00 pm
Fiumano Projects is proud to announce Sam Burford’s exhibition / REDUX / 3+1 at the
The word Redux originates from the Latin reducere meaning to 'bring back'. The term 3+1 refers to the field of study in general relativity that seeks to decompose Spacetimeinto three-dimensional space and one-dimensional time. These two ideas act as thestarting point for Burford’s deconstruction of the cinematic form as an expression of time and materiality.
Burford’s art practice stems from his experiences working in film and televisionproduction where he began to question the immersive and distractive nature of itsunyielding constructed temporality. He is now developing these ideas through his doctoral research at Chelsea College of Arts in London.
As cinema becomes increasingly digital and dematerialised in its method of production, content and delivery, there is a consequent drive to return to its material roots in the physical world. Working with a variety of media - 3D printing, painting, video and time-lapse photography - Burford restructures traditional cinematic forms to create new synthetic compositions that describe four-dimensional Spacetime.
Through a series of Cartesian transformations, Burford unpacks the formal structure of cinema as the photographic enfolding of time and space (normally expressed as a series of two dimensional image slices) and creates unique, physical sculptural forms that depict local flows of time within the material tradition of sculpture. Through this materialisation, cinema is returned to the world of objects, the language of making, holding and grasping and is subject to the same agencies of decay and gravity as we are. The cinematic memes embedded in these forms can now be physically held, examined and evaluated within our own time frame and immediate personal space.
The starting point of Burford’s process is the production of time-lapse photographs of cinematic time using specially constructed cameras. From these Burford employs a number of techniques to generate physical forms. In one series, the frozen temporal traces are translated into a series of individually crafted paint brushes and used to transform the original cinematic sequences into a linear series of painted marks – a visual language of gestures that reference a time before the mechanical and electronic technologies of modernity. There is a sense of doubling back in order to move forwards.
In other artworks the traditional elements of cinema, in terms of sound and image, are rearranged. Through these actions Burford explores what happens when the physical materiality of the supporting medium intertwines with the implied narratives therein. If cinema is thought of as the ‘flattening’ of forms from the actual physical world, to be seen at a later stage (where the experience of time is electronically structured and inherently generic) these artworks represent a gesture of returning; an attempt to introduce materiality, physicality and a natural temporality to cinema.