Click here to view the single channel of my latest video piece, Scopophilia.
Scopophilia is a single-channel installation looping 6:48 minutes of digital footage. Appropriating film from various sources (including the Prelinger archives and vintage pornography) the piece abrasively collages archival elements of historic and sexualized imagery in order to create a tension between the visual accessibility of the female form and the industrial city.
As a non-narrative piece concerned with destabilizing notions of visual comprehension and representation, Scopophilia is installed in a confined dark space as a means of depriving the viewer of any other sensory stimulation, focusing all perceptual attention on the decomposition of the moving image. The piece confronts the nature of the moving image as a monocular and thus reductive representation of “reality” in its psychodynamically polarized imagery: from the most viscerally sexual to the most outwardly constructed forms. Completely removing its weighted imagery from such a “reality” through spatial and temporal confusion, both the female body and the city resist masculine modes of objectification.
The term “scopophilia” — Freud’s own term for the love or pleasure of seeing — refers to both the overtly voyeuristic pleasure of the male gaze on the female body as well as the touristic pleasure of turning the historical city into an artifact by means cinematic survey, indexed as a memory trace within accessible consciousness.