(y)our passing glance

the setting:

Video work as part of a group exhibition for Dordor Gallery in Brooklyn called “Art Out”.

the story:

During the pandemic, I became obsessed with the writings of Katharine Norman, particularly “That Passing Glance: Sounding Paths Between Memory and Familiarity”. This quote (among countless others) struck me:

“We move and, in every perceiving moment, transform information into knowledge…we make and form familiar places through constant comparisons between past and present experience, and remember these comparisons. Each repeat visit, each remembering of a memory, deepens the attachment. ‘…the world of our experience is a world suspended in movement, that is continually coming into being as we - through our own movement - contribute to its formation’ (Ingold 2000: 242).” - Katharine Norman

For the exhibition, the gallerists informed me that sound wasn’t feasible for that setting, so I decided to make a movement work set to silence. The “sonic score” to this work is ephemeral and personal; it is the sounds that surround the observer in the place in which they are watching. We perceive passersby as fleeting blips crossing back and forth. But each one is unremittingly progressing a path, leaving a trail. I blur these two perceptions, embodying both corporeal reality and cognitive reaction. Though our bodies move forward with time’s ticks and keep walking, our mind sometimes stays behind. I apply a temporal microscope to the latter, drawing out what happens to us internally in a stream of passing glances. Sometimes there’s that invisible glitch of one in particular. The world becomes an anechoic chamber in which we become completely absorbed in what we feel in our own body.

“We are struck, floored, shaken, or jolted in situations where perception’s unobtrusive ‘passing glance’ is arrested with a sudden bang…But that shock need not be delivered through a loud report…” - Katharine Norman