Then I sat down on a chair next to her and cowered before her, like Eugenides, in admiration, and began my interview. People have been asking me for years, and I did go to Sundance when we were making JG there. I would make the whole film with the masks. He was a nasty piece of work. A quiet and reflective piece, JG is a meditation on time. I mean really right wing.
I just call nothingness time. Salt rings buildup in strata along the shoreline and salt crusts grow upon the heavy machinery of the potash mines. Ten Lessons Learned by Academic Programs in I need to make it as an artist. I developed the technique for the Turbine Hall project where I could mix landscapes and mix time, you know, play with the notion of time. During her recent lecture at the Hammer Museum, Dean lingered on a slide that captured the line of a mountain ridge continued across all three frames of the Ektachrome mask, with each shot filmed at a different time of day.
I started doing more research about him, because it was a great shock to originally find out that the writer of the Jungle Book was quite an unpleasant character. People have been asking me for years, and I did go to Sundance when we were making JG there.
Tacita Dean and “the genius of Nothing” – The Glass Magazine
I need to make it as an artist. The physicality of film fillm its status as a record extends to its own life cycle. Sebald was one of her literary heroes. She has also received the following prizes: Sitting alone on a chair in taciat middle of the gallery, she was exactly how Eugenides had described her in his article: Each film print has a life cycle and gradually accumulates age and wear. These relate to film, not so much my films but they relate to a cinematic trope: This visual and temporal collage mixes time and place in a single frame of her film.
Dust and small scratches creep into the frames and the image fades slightly over time. I am incredibly formal, my films are highly structured, and the editing is incredibly precise.
Beyond the passage of hourly time, the film draws the taciga attention to the traces of geological time written into the landscape.
This analog technique introduces an element of collage to the film, producing a composite image. I mean really right wing. Look at my work! The most distinctive of these masks within the film resembles a strip of Ektachrome film, which fits three horizontal frames across the screen.
JG is all about time. Yet, each film print is only a temporary ddan. Dean comes from impressive English stock. During her recent lecture at the Hammer Museum, Dean lingered on a slide that captured the line of a mountain ridge continued across all three frames of the Ektachrome mask, with each shot filmed at a different time of day.
The structure is the Ballardian loss of daily time. So already an outsider I made myself even more of an outsider.
Reflections on JG, a film by Tacita Dean
Looped projection of this kind is hard on film. The image simultaneously conveys the passage of time and the unification of time. Actually JG is a step closer to cinema and a step deqn from art because of the voiceover and because there is more of the structure in it. My work is romantic.
While I was cutting this film I thought for the first time, I need to do it now because of the medium. She views each print as having an individual life. The scratches and fading are physical signs that confirm that the print has lived.
Her eyes exert a Rasputin or Madame Blavatsky force … She is an overpowering force and I cower before her in admiration. Kipling was a really right-wing guy. The effect can be jarring, disrupting the internal coherence of the frame, but it can also create a beautiful parallels across time. In the introduction to his interview with Dean for BOMB magazine, Eugenides called her Formidable with a capital lettera nickname first given to her by Gallic journalists.
I have many facets, I have a Ballardian facet and I have a romantic facet. But it was always very crude. To avoid complete degradation of the image, two prints were provided to the museum to split the damage. The aperture masking technique foregrounds the tactility of film both as something that bears a trace but also as something that can be physically altered. From digging and processing the earth, the potash mine produces a stream of salt which pours down from the roof of a warehouse into a mountainous pile, like a giant hourglass.
Moreover, the film strip itself becomes a visual and physical record of its production. We all think about the Jungle Book and how charming he was, but this poem is very ugly as well.
Basil had abandoned his wife, the first of three, on the day she gave birth to Joseph, and Tacita wrote: The film meanders across deserted ig of Utah and Central California, composed of water, mountains, rocks, dirt and salt, and populated with creatures from deep time——a scaly armadillo that uncoils from an egg-shaped ball, a lizard that suns on the rocks, swarming flies, and even an excavator with a crane-neck like a dinosaur.
To her, the archaic way of processing film is magical. Tacta Gift Guide Dean creates juxtapositions of disparate parts of the landscape through the use of aperture masks. The time seen and held by the spiraled roll of film includes its exhibition lifespan within the gallery. So tacit time stays there, it is imbued. My references are quite British. The English still have that problem. It uses cinematic language.