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sue.k. experimental video
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parading tod und schlaf |
Made specifically on invite to screen in celebration of the posthumous publication of A.L. Rees' book Fields of View. A structuring of a minute of time based on the replication of cannon music. |
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testing colours |
A work in progress, using found 16mm film footage to explore colour, texture, process marks, and time in the conflation of film and digital video. |
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Eastside |
A work in progress, shot on 16mm high contrast black and white film, then hand processed followed by hand printed using a gang sync and digitally edited this work captures the morning ritual of opening shop conducted by the Italian barber situated across the road from the suek-artist warehouse. |
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Die Mother F_cker Die |
The fragility of life, the fragility of youth, lost as a moment passes, the callousness of this world that we live in. We walk the streets, high heels clipping the sidewalks, wearing the latest in fashion, hats, gloves, trousers, we fret about whether we're next in line for a worthless tit-bit, selfishness reeks within the cities, towns, and villages of Australia, the UK, and without doubt the US. Careful are we to keep our backs turned so as to avoid seeing the death, the hunger, the fear, the loss, and the perpetuation of atrocities by that that we call home. |
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slivers for Ghee off |
'Lying here in bed watching slivers of light dance and prance as they roll across the wall.' The evocative nature of reflected light that can be found upon the wall of sue.k.'s private living space and the wish to share it with someone special is the initiative for this work. Not a love poem but a heart poem. |
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bild A pos, bild B pos, bild A neg, bild B neg (2009) 12 mins, digital video, colour, sound |
A sphere. A sphere that sits central to the frame of the screen. A sphere that travels at unfathomable speed in distant skies yet remains almost still to the human eye. And here in the limits of photography, a sphere that sits central in all 1,092 frames of the short source footage. To create movement and texture within the frame, which will allow a moment of interest to settle fleetingly on the remnants of making entailed for each of the 1,092, required dedication to each individual frame that will flicker before the eye.
(Made specifically for the cogcollective programme Not Past Its Use By Date where four invited artists provided the original source footage of an already produced work to another participant with which the other created a new work. The original source footage for bild A pos, bild B pos, bild A neg, bild B neg originated from Paul Rodgers Sun. For more details on this programme visit cogcollective) |
 click image to play video (excerpt, file size 18.6 mb) |
2112
(2009) 21 mins, digital video, colour, sound |
Have you ever sat amazed at the subtleties of light play upon the wall created by the streaming sunrays that filter through the crack in the curtains? It's the seduction of such a thing that 2112 attempts to capture by bringing into play juxtapositions between the mechanisms of the camera optics and the shifting light and its subtle variations as the sun moves across the sky. |
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dance[underscore]jigsaw (2008) 3 mins, digital video, colour, sound |
With dance[underscore]jigsaw sue.k. revisits old ground by working with an old collaborative partner Jonathan Sinatra. The movement, devised/choreographed and performed by Sinatra, becomes fragmented by the process of capturing moving image with a still-frame camera. |
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sequence 1 in landscape (2008) 8 mins, digital video, colour, sound |
This work explores the notion of landscape in an extreme close-up view. While it is easy to assume that when speaking of landscape a panoramic vista is referred to, sequence 1 in landscape adopts a more intimate approach to recording the modulations of texture and form of the land. The harsh and invasive soundtrack that accompanies the work, while recorded in-situ, jars against the tranquility of the native flora blowing in the wind. |
 click on image to play video (excerpt, file size 24.6 mb) |
1/500OP+9blackfriars (2007-2008) 15 mins, digital video, colour, sound |
sue.k.'s fascination with train environments continue for this work. Shot on the platform at Blackfriar's Bridge tube station, the camera records at 1/500 shutter speed the departure and arrival of two trains. Each frame of the original footage was developed as an individual picture file, the transference of which flattened the video interlace allowing the duplication of the image, which occurred as a result of the shutter speed, to clearly exist in the one frame. In a similar vein to liverpool223355 and steps---89, 1/500OP+9blackfriars reflects the grime and decay of an overpopulated city. |
 click to play video (full play, file size 31.8 mb) |
film_1234... (2007) 1:30 mins, digital video, colour, sound |
Originally made as an example for teaching, film_1234... uses found film footage retrieved from the floors of teaching studios and editing suites at Curtin University. |
 click image to play video (excerpt, file size 16.4 mb) |
liverpool223355 (2006-2007) 28 mins, digital video, colour, sound |
Shot at the height of Summer in 2002, liverpool223355 captures the brilliance of light on an almost deserted nighttime platform at Liverpool Street Station, London. This work, more than any other created by sue.k., refers to the specificity of its medium by introducing the primary colours of video, blue, red, green, and black and white in positive and negative, in a series of still frame insertions within the edit weave. These are used to reference points in space and time determined by the subjective processs of filming the original video material. The audio is edited in a way whereby it further extends the experience of space and time by announcing each introduction of a series of colour or positive and negative black and white. |
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d&b tollington park (2005) 11 mins, video, colour, sound |
Always captured by the steep staircase that wound its way through four levels from the top floor of bedrooms and study to the basement kitchen of David Curtis and Biddy Peppin's home in Finsbury Park, London, the urge to reflect the experience in video was realized when house-sitting for the couple in 2004. d&b tollington park uses moving image and still shots recorded on a mini-dv camera. |
 click to play video (excerpt, file size 12.8 mb) |
steps---89 (2003) 17 mins, digital video, colour, sound |
A flight of stairs, eight trips down and eight trips up. steps---89 captures the mood and sense of agitation experienced within the underground network of London. Shot over a several days and at different times during the day, steps---89 provides an analysis of time and event. The shooting sequence of running down the flight of stairs to the Victoria Line platform at Euston Station and then up again was carried out for eight individual shots. For seven of these the camera is pointed down towards the feet and stairs while in the eighth the camera is pointed towards the wall on the right. By editing all eight shots in a single frame weave, a discussion about the relativity of points in space and time is allowed to emerge within the work. |
 click to play video (excerpt, file size 13.2 mb) |
card 4 (2003) 8 mins, digital video, colour, sound |
card 4 is a four camera view of a group of friends playing cards. Each camera was placed behind a player and set at a height to give an overhead view. Central to all views was the top of each player's head and at times the cards held in their hands. The hands of the other participants in the game sit at the left, right and top frame of the image. Within the middle of the composition is the stack of cards from which the game entails. most of what is seen is set against the green background of the table's covering. card 4 explores the affect of the edit-weave on synchronized multi-view points of a subject and activity yet as a result of the capturing process, whereby the original source is ran in fast forward or rewind during it, the original time sequence is fractured. Any synchronisation that occurred in the final piece then became random leading to an underlying gente tension evoked by the waiting for the next moment of such to take place. |
 click to play video (excerpt, file size 11.6 mb) |
karenintheround014 (2002) 5 mins, digital video, colour, sound |
A fascnation with round-faced buildings and the spatial division created by their architecture was the inspiration for karenintheround014. Commony found in London, a visit to the city in the autumn of 2001 provided the ideal location for the shooting of the work. Situated in High Holborn, the building chosen is one that sue.k. passed each day on her way to the Oasis Swimming Pool complex. It sits between the two arm roads of a 'y' junction with its entrance door facing the stem road, Of most interest is the way in which an image of a round building can manipulate the perception of screen space once the recorded shots are edited in a weave. Most important for the work is where the figure of Karen Mirza, a fellow London film artist, is situated within the frame of the image. Mirza's figure is used to define the boundaries of the frame and to provide a path of direction and for the most part, focus is given to the area between her shoulders and knees taking the attention away from any personification of the figure and placing it with the conceptual aspects of figure in ground. |
 click to play video (excerpt, file size 9.9 mb) |
gabscal |
A simple and uneventful everyday activity of a mother and son walking towards a gate provide the visuals for gabscal 21 seconds / 16 frames. The work explores the measurement of time in PAL video's format of 25fps. Developed with a metrical structure the work extends the original duration of the source footage of 21 seconds and 16 frames to that of 49 mins, the final duration was determined purely by the metrical system used in editing. gabscal 21 seconds / 16 frames is about the materiality of time, it presents a dialogue of such. It also presents a sub-dialogue, which is constant in sue.k.'s video work, about the physical experience of viewing the sequential series of still images that moving image is comprised of. |
 click to play video (excerpt, file size 10.9 mb) |
daz07/02/012038 (2001) 5 mins, digital video, colour, sound |
The first digital video work produced by sue.k., daz07/02/012038 was shot on analogue SVHS, digitally captured and edited in Premiere. By moving into the digital medium of video, avenues of approach to production that are unavailable in analogue video enabled an editing technique that sue.k. had been keen to explore for some time. daz07/02/012038 became a watershed work in her practice. Intent on collapsing the illusion of screen space, causing it to collide at a point that unveiled its elements of construct, sue.k. developed a single frame editing sytem that incorporated different events of time. The work includes a clockwise pan, an anti-clockwise pan and a still camera recording of the same landscape location. These were edited in the sequence of one frame of clockwise pan, two rames of still camera, and one frame of anti-clockwise pan, while maintaining the original temporal order of each shot, for the full duration of the shots. The panning camera caught the undulating landsape of the Western Australian wheat-belt while the still camera was positioned facing towards a rising hill from which a figure advances. |
| Sinatra's Square (2000) 15 mins, SVHS, colour, sound |
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| potmen (2000) 4 mins, SVHS, colour, sound |
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| sinatra/a film by sue.k. (2000) 11 mins, SVHS, colour, sound |
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| wash (1999) 5 mins, SVHS, colour, sound |
page last updated 18 March, 2012