The hut sits quietly in the hills as the valley moves and sighs, but it sits with the effect of a monumental tomb. Defiant. Lavishing its influence, denying its love.
The overwhelming influence of this place and the loss of its creative patriarch are worked through and transformed into a new legacy through the experience of being in and photographing a physical place.
Removed from civilisation to observe, to direct ones gaze. The act and state of looking transforms ones mental attitude or view. Creating a new history.
Lady into Hut is about transformation. Empirically being, photographing and becoming a place. Combining film stills from 1947 with my own, contemporary photographs.
“Transformation stories are the means by which we make sense of the world, how we see the connections that, ‘the materialisation of our age’ misses, and they belong to the universe that is ordered, not by reason alone, but by imagination, a universe in which change is the only constant”
John Burnside, foreword (2008), Lady into Fox by David Garnett (1922).
“Lady into Hut” was presented at Slideluck Braga.
a. What program was used to create the multimedia?
I downloaded the 30 trial for Final Cut and somehow made the film in a day. I remember it was the weekend and I basically didn’t move for day as I wanted to make a film for Slideluck (I think the Braga edition). I had sat once with someone making a multimedia piece so used what I had gleaned (very much trial and error), to make the piece.
b. How and why did you choose that sound/music?
The piece, Lady into Hut, is about the place my Grandparents met in Scotland and its relationship to me. The hut my Grandfather built in a valley is where we scattered his ashes. So I chose a piece of music that related to that. When my Grandfather became ill with dementia my mum bought him a small CD player, as music soothed him. He was always a pianist, so I bought him a CD, simply called Piano Favourites, with a selection of compositions for him to listen to. For the next ten years before he died, it was the only CD he would listen to. He would get cross if something else was put on. We played it over and over in the hospital in the days before he died. Sergei Rachmaninoff’s, Prelude in C-sharp minor, was on the CD.
c. Tell us about the editing process when you think of a multimedia.
I enjoy making films as it encourages me to look at the photographs differently. It can often be a more emotive way to look at work due the combination of sound and imagery, so a lot of thought goes into the experience of viewing. I also want to ensure that that experience is very different to seeing the work on the walls of a gallery. I was able to add original footage of my Grandparents when they met, and I also included a set of images of my Grandfather’s ashes being scattered. These elements hadn’t been included in the work before. It has to take a different shape in each incarnation so I can keep pushing the work. Similar my piece Clair de Lune, which is a composite of 154 prints making one photograph from the series. This changes shape in each embodiment. I enjoy this and seize the challenge.
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