Where We Go Next (A Place That's Neither Real nor Fantasy), 2016.

Film (9:32 mins)

 

Where We Go Next embarks a journey into an unfamiliar world only accessible through the camera's eye. Using the material qualities of filmmaking to highlight the awe-inspiring experience of nature's sublimity, the transcendental compositions of visual and audio demonstrate a landscape's temporal ability to draw human emotion to the fore. At a time when modern technology is often perceived as invasive, Where We Go Next instead seeks to understand and celebrate new medias potential to give access to new and strange virtual worlds.

As the culmination of Lottie Walsh's Fine Art BA study, the film stands as a speculative memento of the artist's own journey through the work; both of the studied location of Iceland, and the physical and philosophical materials at hand.

          '[Walsh] simultaneously grounds the digital in our encounters of everyday life, and sets out to understand how these encounters have changed due to the prevalence of digital visual culture.'
                                                                                                                                                                                                    (G. Dearden, http://www.impassioneddigressions.com/#!volume1issue3/ex9ku)

 

Where We Go Next (A Place That's Niether Real nor Fantasy) is now fully available to view online, below.

For any further information please contact the artist at lottiewalsh@hotmail.co.uk.

 

 

Where We Go Next (A Place That's Neither Real nor Fantasy) was shown at York St. John University, as part of See:Saw Degree Show, 21st - 31st May 2016. For a virtual 360° tour of the installation, click here.

 

Mapping Out A New Landscape

Painterly decisions, based on colour and forms demonstrated in the compositions of the landscapes that constitute the film, are what directed the structuring of the footage within Where We Go Next. After finishing the film, 40 primary stills were composed together. Intrigued by the flowing of forms between some of the images (horizon lines meeting up, shapes being formed etc), a process of marking out lines and shapes interestingly started to develop something which looked like a landscape in itself.

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