‘Estivador de Imagens’ [Image Docker] is a metaphor about the own process of construction of the audiovisual work. It is ‘membranes’ that allow us to create spatio-temporal meta-narratives. Fictional images that when projected into a sculptural body gains a physical and immersive dimension.
The image models the sculpture, offers a new temporality that unfolds in many others; architectural, mirrored and multidimensional.
The idea is based in the construction, reconstruction, manipulation and assembly of digital images to later be projected on a body that corresponds or that belongs to the sculpture.
“The editing is this operation that falls on the images-movement to extract from them the whole, the idea, this means, the image of time. It is an indirect image, since it is inferred from the images-movement and their relations. The video edition does not come later, though. It is necessary that in a certain way the whole be first, which is presupposed.”*
An idea of cinema-expanded is underlined here, this wrapping form allows the creation of meta-narratives. The underlining content is part of the filmmaking process of the German artist Harun Farocki. Docker is the one which places value on a piece of work, assuming that the viewer observes, acknowledges and interprets the image like a victim. The observer is constantly aware of the works and remains vigilant.
*in DELEUZE, Gilles. A Imagem-Movimento, Cinema 1, 1983
Estivador de Imagens [Image Docker], 2018
3m x 3m x 3m
4 mirrors, 4 acrylic tubes, 2 acrylic sheet, 4 speakers, video projection (HD), color, 11.59″