2022, RAAMWERK
Residency at Het Huis Utrecht
Part of a ‘Subsidie Nieuwe Makers covid-19’ by Fonds Podiumkunsten, supported by Het Huis Utrecht
Exploring the field of:
performativity, framing and experience of time
Framing used as a filmic tool is often a cut-out from the existing space. When using this idea of framing as a scenographic tool, something else starts to appear. The filmic frame freezes time in a way the scenographic frame cannot do. It preserves a chosen time. The scenographic way on the other hand, develops in time. To be bodily present in a framed space, slowly revealing themselves to you, is a strength the filmic frame cannot. So, when combining these two, scenograph(film)ic framing both develops and conserves time. And by doing so, a pictorial sense of space appears; an illusion between twodimensionally and three-dimensionally; a play of the seen and not seen; a curiosity to the ‘left out’
Portrait by Christie Bitar
Residency at Het Huis Utrecht
Part of a ‘Subsidie Nieuwe Makers covid-19’ by Fonds Podiumkunsten, supported by Het Huis Utrecht
Exploring the field of:
performativity, framing and experience of time
Framing used as a filmic tool is often a cut-out from the existing space. When using this idea of framing as a scenographic tool, something else starts to appear. The filmic frame freezes time in a way the scenographic frame cannot do. It preserves a chosen time. The scenographic way on the other hand, develops in time. To be bodily present in a framed space, slowly revealing themselves to you, is a strength the filmic frame cannot. So, when combining these two, scenograph(film)ic framing both develops and conserves time. And by doing so, a pictorial sense of space appears; an illusion between twodimensionally and three-dimensionally; a play of the seen and not seen; a curiosity to the ‘left out’
Portrait by Christie Bitar