Mesma Trilogy, 2003/2004 (excerpt)

Mesma Trilogy, 2003/2004 silent 6 monitor video work with 6 artists’ videos (exhibited for Rites/Rights/Rerwrites – Women’s Video Art from India, Ithaka, NY, 2004) The ‘Mesma Trilogy’ is a conceived as a video installation. A six monitor piece, it references…

Mesma Trilogy, 2003/2004 (excerpt)

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Mesma Trilogy, 2003/2004
silent
6 monitor video work with 6 artists’ videos

(exhibited for Rites/Rights/Rerwrites – Women’s Video Art from India, Ithaka, NY, 2004)

The ‘Mesma Trilogy’ is a conceived as a video installation. A six monitor piece, it references themes in movie scripts and finds connections with them within the artist’s interest in art/object making.

The three movies referenced in this work are Stanley Kubrick’s ‘2001- A Space Odyssey’, Charlie Kaufman’s ‘Adaptation’ and Andrei Tarkovsky’s ‘Solaris’. Each of these movies has held a special meaning for me, and it is these strands of my interpretation that I present in the ‘Mesma Trilogy’

‘Mesma Trilogy’ interprets as ‘3 movies that have had a mesmerising effect on me’, a special hold, which makes the theme for each of these movies. Each of the movies takes on an investigative approach into the nature of an object/ a phenomenon which is elusive, mysterious and mesmerising, drawing in the characters to discover it. The theme of inquiry and discovery as explored by these films is where I draw connections to my work. Since most of the objects I create are metaphorical, kinetic, ‘thinking’ entities, I present this aspect in the ‘Mesma Trilogy’ videos.

Of the six artist’s videos, three are screenplays of the respective movies (textual) and three are visual. The installation of the 6 monitors is conceived as 3 independent towers of 2 monitors stacked one atop the other (the rolling script video below and the visual video atop), with space to move around, in response to any given site.

The videos themselves explore an object or multiple objects in unusual circumstances hinting at altered states. Just as the screenplay of any movie can only precede the visual, the visual videos anticipate the space between being explored and completed. The screenplay is presented in the form of a rolling credit, a scrolling text which describes the action in the movie without having any visuals itself. It remains a reference of the film, excerpting the main theme, hoping to remind the viewer of their experience of the film or, introducing the viewer to it, if they have not seen it. The visual videos’ reference the artist’s practice and earlier works in ‘solid objects’, 1999.

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