In selenium, surveillance, sensitivity, the notion of surveillance is explored through my personal relationship with the history and changing meaning of the “sink.” This is explored through the juxtaposition of three, multi-channel and un-edited video shots, where the sink is transformed into a function, rather than an object.
In every situation it is used for, the artist finds herself in a strangely familiar space (specifically, a darkroom, a projection room– faintly tinted with the red emergency lights of after-hour use, and a bathroom: all of which are frequently-used spaces by the subject, and all of which are spaces that feel psychologically impending). In these situations the artist’s mind is always multi-tasking, the body feels surveilled, and the fluorescent lights of red are always coincidentially present.
Inspired by Vito Acconci, the center channel seeks to question what the viewer’s relationship should be to the artist, or, on the contrary, whether there needs to be a viewer if surveillance is solely interpreted as documentation.
As the artist stands within a virtual projection of an overflowing sink (center), this further raises the question if one is actually being surveilled in each situation, especially if not physically (the artist is unable to bathe in the water, but only stand in the imagery of it). It is thus suggested that perhaps surveillance only exists in the mind, and the atmosphere in which the subject feels surveiled is only provoked by visual, tactile, and olfactory cues.
selenium, surveillance, sensitivity by Laureen Andalib on Vimeo.