The visual and aural elements of the work created an onslaught of images and voices which, rather than exposing a clear narrative, intersected creating an overwhelming experience, simulating the loss of identity, and the struggle to recapture the self. Artist Tina Keane born Sorry, no image available. The most she could do was reach out to the screen, or adjust the size of the image, manipulating what was there, but never creating anything new. Does this text contain inaccurate information or language that you feel we should improve or change?
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Many of these images had an abstract, or surreal quality about them, with faces being inverted and blurred, or projected upside down, and intersecting, cut clips feeding rapidly into one another.
Medium Film, 16mm, shown as video, projection or monitor, colour and sound stereo. The performance space was defined by a large central video projection, flanked by four projected pillars. For the critic Guy Brett, the result is:. The women — including a bodybuilder and a swimmer — merge with each other, the wallpapers and moments of intense abstract colour, as the surface of images is composed, de-composed and re-composed. You might like Left Right. This copy is number one in the edition.
Main menu additional Become a Member Shop. For the critic Guy Brett, the result is: Artist Tina Keane born In this way Faded Wallpaper explores visual perception, madness, creativity and the nature of female identity and subjectivity. Mostly she focused on the central image, occasionally rising from the bench and moving closer to the screen, as if attempting to touch the wallpaper, or else adjusting the size of the image shown by manipulating the projector.
Andrew Wilson January In Faded Wallpaper the layering tlna the result of footage from four different Super 8 cameras being fed into a mixer.
Keane experimented with video technology to find ways to create the effect of the images layering and merging into one another. Bethan Huws Singing for the Sea John Smith Hotel Diaries —7. Faded Wallpaper was developed between and and took different forms during this period.
Tina Keane – Faded Wallpaper | England & Co Gallery, London
The wallpaper is removed to reveal the image that it obscures, but also suggests bodily skin. It took ages and ages to work it all out. Rebecca Horn Berlin Exercises: It was first exhibited in as a video and neon installation at the Serpentine Gallery, London. It seems to be poised precisely at a watershed between traditional forms of representation and new electronic media … The whole piece is perhaps a metaphor of the mind, as outer perception is mingled with inner dream in the image of wallpaper, the domestic skin whose layers ttina alternately be plastered on and stripped away.
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Sorry, no image available. Steve McQueen Bear An audio track accompanied this process. The performance, then, did not just depend on the interaction between performer and video, but relied on the immersive experience shared by the performer and the audience, created by the intersection of video, audio and live body within the shared multi-media space.
In it was exhibited for three consecutive days in the newly opened Clore Studio at the Tate Gallery, London as a semi-immersive, forty-minute multi-media work combining live performance with film and audio track. Dreaming under Water —5.
Wallpaper, pattern, layer, face, mask, enclosing walls, languages of freedom: We would like to hear from you. Melanie Smith Xilitla Although Keane was captivated by the surreal and absurd images that flashed before her, she was powerless to remove the wallpaper and uncover the final, complete image.