Gill Hobson
Interference Patterns

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Interference Patterns employs

a key element of the

airport experience – the

luggage trolley – as a ‘dolly’

for the camera eye. Filming

explored the potentials to

extend my own agency in the

authority space of the airport

and facilitated the recording

of different kinds of image to

those consciously ‘framed’

by the artist. The passivity of

the technology enabled the

capture of information and

myriad details that eluded

the human gaze and ear,

glass window as light, colour,

pattern, and space combine to

produce a new articulation of

the experience in the present.

The new is framed in the images

of the past, the known,

as my unconscious finds a

point of coherence from which

to build a relation to the experience

of the space.

Mirroring this imagery in post-production produces a manner of Kaleidoscope where forms

and patterns are brought into

being while simultaneously

dissolving. In the mirroring a

documenting sound and visuals

not consciously seen or

heard.

 

Negotiating some of the unknowns of the footage in the

playback, challenged my own

memories of experience and

place, revealing in the edit an

unconscious focus on familiar,

indeed symbolic forms from

my own past. Colour, surface

pattern and the glass of the

atrium combine and flatten in

the image plane to produce

the semblance of a stained 

glass window as light, colour,

pattern, and space combine to

produce a new articulation of

the experience in the present.

The new is framed in the images

of the past, the known,

as my unconscious finds a

point of coherence from which

to build a relation to the experience

of the space. Mirroring

this imagery in post-production

produces a manner of

kaleidoscope where forms

and patterns are brought into

being while simultaneously

dissolving. In the mirroring a 

manner of cut or fold is made,

where imagery collides in a

central plane to create a third

space. There is no anchor for

the gaze, as the image plane

evolves and dissolves in front

of the eye, and sound and

image combine in an oscillation

of reverie interrupted by

reality, the conscious and the

unconscious, as the subject’s

inner and outer worlds collide.

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