SUBTLE UNIONS

Every artwork creates an interface for the unvisible level of interaction where subjective experience happens. Making space for the experimental dimension in the process of making art opens up a variety of possible point of views, questions, unfinished and unrevealed realities that must be explored over and over again. It challenges you to change the standpoint without losing the balance between your personal conscious input and the interactive spontaneus other.

 

I find it interesting to consider crossover artworks as encounter points where multiple universes meet, subtly intersecting with each other. Regardless of wheather there’s a script to follow in the first place or not, in the end the outcome will tell its own story at some level anyway. Working with the music video Half Open (2013) by MITE ITEM in collaboration with video artists the aim was to craft the outcome in dialogue not having the other medium to rule another.

In the process of writing the lyrics I began to listen the lines and forms of the visual story and let some words just ring and sound abstractly. It felt like having a conversation between senses willing to hear the video and see the sound. This way of writing a story made me free my mind.

It was like being still and active at the same time.

In lyric poetry, words can be wrested from their ordinary context and made strange. What holds the words together in a lyric poem is often formal – similar sounds, rhythmic values, placement within the line. Such formal patterning contrubutes to what we recognize as art’s heightened effects, wherein the object seems separate from ordinary lived time and space – sublime, even transcendent. Similarly, in music video, an image’s apt reappearance against the musical line, and a well-judged change in its internal structure, creates patternings.

(Vernallis 2004, 188.)

Going experimental in the making of art means exposing yourself to the unknown. It’s like taking a break from who you are and what you already know. It’s about letting go of control and being open. As gloomy as it may sound I think that’s a way to get closer to those subjective experiences born in the hidden level of interaction between the artwork and the audience.

***

Vernallis, Carol. 2004. Experiencing Music Video: aesthetics and cultural context. New York: Columbia University Press.

 

Music by MITE ITEM

Video by Elina Himanen & Mikko Tikka

Concept by Katri Salmenoja

Supported by Fotonokka

© 2016 KUNELMA