Nick Kaye: Where in the single-channel tapes, Oursler suggests to Mike Kelley, “[c]onversion from real to video space was a big part of my process” (Kelley in Rothschild 1999) these installations simultaneously effect a reverse movement. Thus, where Oursler’s installation design serves to literally and metaphorically support the projection’s virtual act and identity, so it necessarily manifests and traps this “virtual character” in “real” space. Such a double movement plays on and amplifies the spatial complexity of video’s operation, while provoking a particular sense of these entities’ “presences.”


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