Video Triptych Examples

One of the e-mails that I received today was the NUCA Alumni 'Events for May'. One of the exhibitions included a video triptych by Nicola Naismith, who is a NUCA graduate.

Video Triptych

2003
Featured in the 14 Person Minutes installation

Video Triptych is a series of ambiguous moving images. Is the movement generated by human (traditional) or mechanical (technological) means? A traditional tool performs to camera creating a new position for the needle and thread. Replacing its traditional function, the object has become through technological processes a platform on which to discuss modes of production. The alliance of differing prosthetics creates a position within contemporary art that bridges field of skill and knowledge. This video work is a response to the question: What might be hand made and what might be machine processed?

Video Triptych 2003 video (2 minutes 30 seconds)

Source [Accessed on 30/04/10]

Although I have been unable to find any video of this work online I did find some other examples of video triptychs and found it helpful to watch how they function. It gives me a good idea of how the action should occupy the space.

Example 1
Unknown student artist





As the synopsis states this video triptych deals with the personality differences between rebel/negotiator/soldier and their relationship with authority. In a sense this triptych is fairly relevant to my own work as it endeavours to show differing emotive qualities. I intend to give each part of my triptych it's own personality but still show how each portion interacts with its neighbour, not unlike the previous example.

Just watching examples has given me a much clearer idea of how some of the action will need to be isolated so as to ensure that the viewer doesn't become confused (unless that is my intention). As previously stated in my proposal the ego is the centre of consciousness and as such will be placed in the centre of the triptych.

Ego

o Handles the communication between the Persona and Shadow

o Centre of consciousness

o Personal identity and purpose

o Perception

o Memory

o Feelings

As the Ego deals with perception and memory I feel that I should relate this part to my 'black book', using the entries and memories contained within to inspire the imagery on the centre 'panel'. The Shadow and Persona panels can offer their response to the 'memories' depicted in the Ego portion of the triptych. The previous example used 3 faces/heads, one in each panel, which is quite a literal interpretation and focuses on the human interactions. As my work is concerned with the interrelationship of the human psyche rather than human to human interactions I must carefully consider what methods will best convey this.

Example 2
No More Sheepless Nights by Dario Vacirca



Information on Dario Vacirca's residency


Residency blog

Although Dario Vacirca is the most acclaimed artist of the three I cannot relate to his triptych in the same way that I could relate to the first one. I have no doubt that this has a lot to do with the human element involved in the 1st triptych. However, if I didn't have any information about what the 1st triptych was about I'm not sure that I would have related to it in the same way. As I read the 'blurb' before I watched the video it gave me a context in which to view the work. It begs the question 'should art have to be explained in order to be understood?' Dario Vacirca gives very little explanation as to what is behind his triptych aside from saying that it addresses 'solitude and time'. This adds to the ambiguity but also goes some way in distancing the viewer from what is happening on screen.

Example 3
Flow by Jeff Winch



Information on Jeff Winch

Art at Toronto Zoo

Each of the 3 example triptychs contain elements that encourage me to think about my own work. 'Flow' uses figures in the foreground to add a new dimension to the work. It then feels like work within work. This has rekindled my initial desire to use projections that are then filmed to produce the final piece. I like this kind of layered approach as it gives the viewer more to think about and can often offer a compelling enigma to those who watch.

I think that I will stick with a running time of 3 minutes for my triptych. The 2nd and 3rd examples seem too long. It must be hard to limit the time on video work as it is filmed in real-time rather than having to be animated frame-by-frame. Animators have a tendency to keep things as short as possible due to the labour intensive methods that are often involved in producing animation. I estimate that 3 minutes of animation (for one panel) will take me roughly 5 or 6 hours, and this may well have to be performed over and over until I get it right. I had been considering if I should animate the triptych as if it were one animation, then slice it up in post-production or if I should animate each panel separately and coordinate the movement so that he panels appear to interact. I am inclined to veer towards producing the panels separately and possibly having the camera get closer to the subject on each panel (left to right, persona to shadow) in order to reflect the depth of conscious removal.