Aura
3-D stereo video || 420s
2 channel presentation for viewing on iPad with Holmes stereoviewer
Aura investigates the relationships between time, and place as manifested in 3-D real-time recording of a hay barn. In this series, the artist draws out the theme of time and the interactions with places and, conversely, the act of art creation and "place-making" and its positioning within time-based memory. In the creation of a surrogate 3-D space, Sylvia combines image representation and memory as lived experiences but also alludes to the ‘aura’ of a space. In this piece, she extends and plays with
………close-ups of the things around us, by focusing on hidden details of familiar objects, by exploring commonplace milieus under the ingenious guidance of the camera, the film, on the one hand, extends our comprehension of the necessities which rule our lives; on the other hand it manages to assure us of an immense field of action. Our taverns and our metropolitan streets, our offices and our furnished rooms, our railroad stations and our factories appeared to have us locked up hopelessly. Then came the film and burst this prison-world asunder by the dynamite of the tenth of a second, so that now, in the midst of its far-flung ruins and debris, we calmly and adventurously go traveling. With the close-up, space expands; with slow motion, movement is extended. The enlargement …. does not simply render more precise what in any case was visible though unclear: it reveals entirely new structural formations of the subject. (Walter Benjamin, Illuminations 236)
The structure of Aura is treated as both an optical device in which the doubling of images, use of enclosures and mechanical motion evoke a unique cinematic experience, a cinéma trouvé. The recordings are slow moving close-ups or still framed compositions in which the subjects are revealed through an abstraction of place that hints at its purpose.
Aura also offers the viewer an ability to examine and experience 3-D video through a stereoscopic viewer. The combination of digital video and analog optical presentation further illustrates Sylvia’s pioneering approach in merging and constructing new works from past technologies.
3-D stereo video || 420s
2 channel presentation for viewing on iPad with Holmes stereoviewer
Aura investigates the relationships between time, and place as manifested in 3-D real-time recording of a hay barn. In this series, the artist draws out the theme of time and the interactions with places and, conversely, the act of art creation and "place-making" and its positioning within time-based memory. In the creation of a surrogate 3-D space, Sylvia combines image representation and memory as lived experiences but also alludes to the ‘aura’ of a space. In this piece, she extends and plays with
………close-ups of the things around us, by focusing on hidden details of familiar objects, by exploring commonplace milieus under the ingenious guidance of the camera, the film, on the one hand, extends our comprehension of the necessities which rule our lives; on the other hand it manages to assure us of an immense field of action. Our taverns and our metropolitan streets, our offices and our furnished rooms, our railroad stations and our factories appeared to have us locked up hopelessly. Then came the film and burst this prison-world asunder by the dynamite of the tenth of a second, so that now, in the midst of its far-flung ruins and debris, we calmly and adventurously go traveling. With the close-up, space expands; with slow motion, movement is extended. The enlargement …. does not simply render more precise what in any case was visible though unclear: it reveals entirely new structural formations of the subject. (Walter Benjamin, Illuminations 236)
The structure of Aura is treated as both an optical device in which the doubling of images, use of enclosures and mechanical motion evoke a unique cinematic experience, a cinéma trouvé. The recordings are slow moving close-ups or still framed compositions in which the subjects are revealed through an abstraction of place that hints at its purpose.
Aura also offers the viewer an ability to examine and experience 3-D video through a stereoscopic viewer. The combination of digital video and analog optical presentation further illustrates Sylvia’s pioneering approach in merging and constructing new works from past technologies.
Working in Surrey, BC
Sylvia acknowledges as an artist working in the City of Surrey, she has photographed and worked on the unceded territories and traditional territories of the Coast Salish peoples, Semiahmoo, Katzie, Kwikwetlem, Kwantlen, Qayqayt and Tsawwassen First Nations, and she pays respect to the Elders, past and present, and to future generations.
Project reviews
2013
Hunter, Dorothy. " This one's for the Farmer' e-catalogue, Surrey Art Gallery, BC, Canada. 2013
Laurence, Robin. “Fall arts preview: Sylvia Grace Borda finds art in farms and sequins” in the Georgia Straight Newspaper, Vancouver, September 11 -18, 2013.
http://www.straight.com/arts/421776/fall-arts-preview-sylvia-grace-borda-finds-art-farms-and-sequins
Sylvia acknowledges as an artist working in the City of Surrey, she has photographed and worked on the unceded territories and traditional territories of the Coast Salish peoples, Semiahmoo, Katzie, Kwikwetlem, Kwantlen, Qayqayt and Tsawwassen First Nations, and she pays respect to the Elders, past and present, and to future generations.
Project reviews
2013
Hunter, Dorothy. " This one's for the Farmer' e-catalogue, Surrey Art Gallery, BC, Canada. 2013
Laurence, Robin. “Fall arts preview: Sylvia Grace Borda finds art in farms and sequins” in the Georgia Straight Newspaper, Vancouver, September 11 -18, 2013.
http://www.straight.com/arts/421776/fall-arts-preview-sylvia-grace-borda-finds-art-farms-and-sequins
Aura as installed as a viewing table at the Surrey Art
Gallery for the exhibition "This one's for the Farmer, "
September 09 - December 14, 2013
Gallery for the exhibition "This one's for the Farmer, "
September 09 - December 14, 2013