Back Now questions boundaries between documentary and fiction, with a playful relationship between representation and abstraction and between moving image and the still image. At present the relationship between memory and society invites a discussion into the process of representation and our consumption of these narratives and cultural references, specifically within the idea of ‘collective memory’, accessibility and material reality. The constant infiltration of images within digital culture deeply effects the way we interpret images, now understood in the vast accessibility to appropriated experiences. These patterns, slippages and gaps are explored through installation, projection, photography and moving image.

 

Understood within the material aesthetics and visual language of film, photography and documentary, representation and authenticity are pushed regarding their affiliation as a public genre and the cultural legitimacy they hold within what we recognise under the genre ‘documentary’.

 

Visual manifestations in a ‘social landscape’ that documentary predetermines are brought into question by blurring personal imagery with visual culture, further blurring the formal elements of image and moving image through decontextualization and reproduction. Framing becomes blurred then reinstated, contained and pushed, repeated then singular. Entwined with specific yet invisible narratives, they become realised through the notion of duality, coupling them with the constant presence of the spectacle or experience and its multiple interpretations. A constant awareness that what is being viewed are constructions, re-constructions, breakdowns and dislocations invites identification while slowing recognition.

​

The image as a filmic fact is constantly questioned, challenging its veracity along with the viewers complacency as a viewer. The images are endured by the conditions and presence that created them.