Nishan I

2007-2012, a 4 channel colour video installation with
4 channels of sound

It looks at sensory and perceptual states that result from a disruption of "organic flows".The point of departure is a state of sustained conflict and the conditions it produces. The work moves beyond the conventional narrative structures that tend to construct coherent temporal structures in order to configure time. An essential dimension of a trauma is the breaking up of the unifying thread of temporality. There is a suspended state of time that exists and duration is stretched. Individual moments liberate themselves from the continuity of movement and extricate themselves from historical time. The body used to be confined in space and now it is time that imprisons us. In a state of post-trauma there is calm but a calm that bears the inaudible traces of the many frequencies that have recently passed. The body is in shock and the sound of its functions that were previously imperceptible are now manifest. So emerges a sound scape of the body and its various processes - sound of blood flow, distressed breathing, heartbeat and so on. 

Cityscapes in conflict zones are dotted with abandoned, disused houses that bereft of their primary functions serve as bunkers for the army. Nishan I registers the interior space of these homes with traces of the absences that are repressed within them. While daily life goes on, in apparent normalcy in the streets and canals outside. The window determines the relation with the world and this relates to the split between the interior and exterior, the ego and the gaze, public and private. In Nishan I the interior space is also revealed, referencing the subject himself/herself and making evident his/her centered gaze to the world outside. Many perspectival planes collide breaking the illusion of a single homogeneous, unchanging space. The single static position of the viewer is broken. The multiplicity of planes and perspectives is woven into the visual construction.






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