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Fig. 4. Deborahwhitman,D m exMadrina/claret#Angels, f hsculpture,wood,screenmaterid , Super-8 film andprojector, mirror,8 X 10 x 16 %ft, 1992. Thissculpturecontainsa Sup& fllm loop that runs continuously. heard, to seewhat they heard, and to imagine how certain sounds could have been linked to the specific situation. DEUS EX MACHINA/CLOSET OFANGEIS Deborah Whitman, 567 6th Street,#8, Brooklyn,NY 11215,U.S.A. I have made film sculpturessince 1977 by looping Super4film on reels through awooden structure,creatinga mechanism [11.The film projectsonto screenswithin the structure.Running continuously,the film sculpturesare like allegoricalmachineswith whimsical features that involve the audiencein poetic narratives. The film sculpturesrun continuously . It is as though the audiencesaw a play, a mythical play like a Greekplay or a symbolic play like Shakespeare, and then it continued playing in a room somewhereand occasionally the audiencewould open the door to that room and would immediatelyrecognize the play whether they chose to stayfor part of it or not. The audience could also close the door and say, Oh yes, that's Ham& or That's Antigoneand the plays wouldjust continue playing endlessly and theywould know that about those rooms. Except in the film sculp tures, the plots continue to change and the audiencebecomes characterswithin them, even if their stay is brief. In D e u sex Machina/Closd ofAngels (1992) (Fig.4), there is awhite closet (3 x 6ft) that ismechanizedby a film loop that runsup from a film projectorat the base to a reel on the side.There are two doorson the front of the closet and a rear screenprojection.A largescreen (4 x 6ft) is hanging to the left of the clo4et . The filmfirstprojectsonto a mirror placed 9 ft behind the closet,which then reflectsthe imagesback onto the screensIThemirror is cutinto two facets, the angles of which are adjustable,so as to throw the images to the two separatescreens.The film format is divided in half. The lefthalf of the image projectsonto the large screen.The right halfprojects intothe closetand is chieflyof angels ascending and descending.The projector,the mirror and the film loop establish theDeus ex Machina.Thef i l mruns continuously but the actuallength is 2 min, 95 sec. The Closet ofAngelsisat an angleto the hangingscreenso that the two screensareviewed separatelyfrom the front and togetherfrom behind. From the front,whereboth screensareviewed separately, there is a senseof twolocations . The steadyascendingand descendingof angelsin the closet mimics the infiniteexpanseof the heavenly spheres.The imagesprojected onto the largescreenare of objectsthat contain infinity for a moment,such as ajar of air,a shadowin the comer, a door partly open.As infinity is representedby blue in both screens,frombehind where the twoscreensare seen together, there is a senseof one continuous plane.The objectsseem to be statesof beingwhich encloseeternityfor awhile to then return as part of it-stonesby a river, ajar of stones. The clockworko f the D e u sex Muchinais disclosed, a conductorof the ebb and flow of infinity withinandwithoutthe forms,ascending and descendingthe angels. Note 1.These film sculpturesinclude TheLkjnitiue's Shadow, (1981), A CloudIsova theTopo f t h e k o f D m (1982), A Stuimaw witha h a t theEd (1983), and The UPperRoom (1984). Wordson Works 261 ...

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Additional Information

ISSN
1530-9282
Print ISSN
0024-094X
Pages
p. 261
Launched on MUSE
2017-01-04
Open Access
No
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