Through reflection, instead of grasping simply the matter straight-out…we grasp the corresponding subjective experiences in which we become conscious of them, in which (in the broadest sense) they appear.
Edmund Husserl. The Essential Husserl: Basic Writings in Transcendental Phenomenology.
Indiana University Press, 1999. p. 323
In ‘The Paradoxical Object: Video Film Sculpture’ Truckenbrod refers to the term ‘tangiality’ to elucidate the perceptible nature of ‘envisioning’ between interdisciplinary mediums, describing how, through our visual imagination we can ‘extend forms’ with our senses, as we ‘envision’ implied appearances. Defining the intangible forms of sound, light and time as ‘intermediating’ alongside the ‘static’, solidity of physical matter, Truckenbrod characterizes these (im)material forms as withholding an ‘argumentative…tension’, that ‘collaborative(ly)…resonate’. Describing their ‘slippery continuum’, she refers to the transitory nature of video, juxtaposed alongside objects, as diffusing the object, while the objects shape the video, creating a ‘shift’, which she defines as ‘igniting imagination and emotions’ through ‘opposing forces’ that simultaneously ‘activate’ and ‘dissolve’.[1]
‘Still Life’ 2007, Greestone Gallery, Lincoln. Installation: cast scented soap objects, soap wall rubbings, metal armature, accompanied by two video projections, with sound, running on a 6 min loop.
‘Spirit Site’, 2002, by Joan Truckenbrod. Handmade wooden house suspended from the ceiling, 5 windows framed in small window frames and a video projection, with accompanying sound, running on a 14 min loop.
Truckenbrod’s own theory and practice explores what she defines as a ‘fission’ of image and form, that is experiential over time. Defining an ‘interstitial symbiosis’ as the spaces and gaps between interactive mediums, she describes their ‘eerie’ feeling, sensed through actively inhabited spaces, which create a ‘form of presence’, that is reflectively experienced when materiality is transformed. Elucidating how we engage with ‘haptic’ and ‘scopic’ sensory perceptions, through which we can sense ‘memories left behind’ as ’embedded spirit[s]’, she illustrates how (im)material forms, who’s presence ‘unfolds’ and appears to be ‘shed’ between their physicality and a sense of their spaces, leave the viewer feeling like they have ‘walk[ed] among ghosts of the past’. Defining the sculptural dialogue between the ‘chaotic realm’ of ‘dynamic’ variables as being ‘entropic’ and harnessing a ‘visually kinetic’ energy, which simultaneously ‘fluctuate[s]’, Truckenbrod emphasizes the intent and meaning of juxtaposing the opposite nature of mediums as a sense of ‘catch[ing]…a clearer vision’, through a closed system of disorder, which will forever evolve.[2]
[1] Joan Truckenbroad. The Paradoxical Object: Video Film Sculpture. Black Dog Publishing: London. 2012. p8-21
[2] IBIB., p8-21