derange, 2016
Dimensions: variable
Medium: Digital prints
In ‘Where Film Meets Philosophy : Godard, Resnais, and Experiments in Cinematic Thinking’, Hunter Vaughan merges Maurice Merleau-Ponty’s phenomenology of perception with Gilles Deleuze’s image-philosophy to analyse cinema’s ability to challenge conventional modes of thought.
Referring to the term ‘plane of immanence’ from Gilles Deleuze’s ‘Cinema 1: the movement-image’ published in 1983, Vaughan speaks to the cinematic experience as ‘…a site of potentiality and becoming’, where unseen truths can be made visible by encapsulating tensions outside the cinematic frame, to encourage self-conscious moments of reflexivity wherein, thought can be reflected upon .[1]
The premise of derange was to explore the idea of an architectural-image as an inverted space.
Transfiguring an image of a window into a cylindrical form, to turn the orientation of looking out of a window, inside-out, derange is not a place or a state of being, but rather a virtual field of potentiality and forces, wherein concepts are formed and relations between them are established.
[1] Hunter Vaughan, ‘Where Film Meets Philosophy : Godard, Resnais, and Experiments in Cinematic Thinking’. New York: Columbia University Press. 2013. p5-9