The video monitor installation, Temperature, focuses on the idea of transformation, adaptation and lack of balance in what we think we are or have “under control”. Our adaptation of identity as circumstantial event. This identity is altered by the measurement. The piece consists of two videos. One video shows a series of pictures of my body changes, transformations through time, temperature and weight. This variables seem to dismantle the body into parts. The pictures dissolve one into another, creating the movement, the sense of change and transformation. The body becomes distorted through repetition and animated to the point that the pictures are almost have a dialogue between themselves. In time other elements appear. It is a ‘parody’ of what at first appeared to be a carefully registered process. It seems that we cannot control the variables. The other video, shows the other side; me taking the temperature of my body, early in the morning. The video is looped, to show a repetition of the days. It is a more informal registration of the cycle. Each day starts with a temperature measurement being taken. It shows a woman about to wake up,but not yet, connected to the thermometer through a small cable. Again my intention was to show a captured moment in time, a sense of control and unbalance.
Temperature was part of the exhibition Engaging the False Mirror is curated by Gilian Rappaport at the Contemporary Art Museum St. Louis
Francis Bacon once said that human understanding is like a false mirror, whereby each new encounter is colored by, and understood through, our past experiences. St. Louis, for one, is a landscape held in the collective imagination, less by our understanding of its present condition, but rather through the lens of its history—from its turn-of-the-century heyday to its postmodern decline. This exhibition features three artists who urge us to resist this false mirror and instead, to compel an immediate, direct, and intimate encounter with the present. Raha Raissnia’s Lapsus slips between surfaces in an ever-shifting infusion of recognizable and abstract forms that that are at once temporary and enduring. Claire Evans’ Digital Decay—as it animates the process of saving an image file in incrementally lower file formats hundreds of times—explores the line between the cold rationality of the digital world and the mutability and unpredictability of human nature. Alongside, Gemma Pardo juxtaposes two interrelated videos in Temperature, magnifying the opposition between the carefully registered process of control and the inability to master bodily transformation.Claire Evans & Gemma Pardo & Raha Raissnia: Engaging the False Mirror is curated by Gilian Rappaport.