A short film introduces the piece,
constructing the myth of its
creation and expanding the frame
of vision, while a database of clips
creates, interjecting the stream
at random, unpredictable and
The context film was realised in
collaboration with Jen Fearley.
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...a brutalist kiss between the Barbican and Balfron with all the dust and air and magnetism crushed between them...
This work, manipulating with technology the classical, yet twisted, ingredients of a fairy
tale (the tower, the bride and the big city), and illustrating the transient and dystopian
state of the surrounding area, finally identifies dust as the only representation of
humanity that preserves a coherence of intent.
The image that the camera reproduces is intrinsically different when focussing on the dust
stratifying over the glass, as the picture of the city becomes bleared, surreal, pictorial,
as if coming from another world or a different time and dimension.
When the night comes, or the lights are turned on in the room, the dust becomes more
visible, and the reflection of the internal space of the house overlays and mixes with that
of London, offering a glimpse of Duchamp's strongest obsession, the fourth dimension,
the projection of a three dimensional reality over another three dimensional space.