Hipera Kelly

Deviate

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Lush Channels

Deviate examines different ways of experiencing our landscape and reflects the ways in which they have been heavily manipulated through technology. What does it mean to speak of producing spaces? And to what extent may a space be read or decoded?

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He aha te mea tenei wahi? What is this Place?


Deviate is an ongoing personal project intended to explore our understanding of landscapes. I opted for a visual response where the image remains the primary concern.



Movement is considered as allowing space to be understood in various ways. I wanted to address this through the relationship between physical objects and their potentiality for being used to map movements through the natural world. This project aroused the sensation of ‘feeling home’ for me personally as it was a need for a private space in which I could retain my memories and thoughts. I occupied a space that is imagined to belong to the viewer and so my position behind the lens to some extent insists on distance from subject.

My artistic process began at the site, photographing landscapes, subtracting landscape features by adding atmospheric elements onto the surface and these modifications are then repeated during digital manipulation. I began by forming a series of images and film works that were based on my own experiences. By situating a disruption in natural landscapes this forces the viewer to peer into a metaphorical window of new perspective. These formations have the ability to allow viewers to escape for a period of time and perhaps build a retreat or haven for them. This sets the viewer loose in time to hover amongst places in the past, present and future.

The composition derives from a process of juxtaposition and repetition of surface, which is used to define the forms themselves. These various elements are held in close proximity to one another and then manipulated in order to interact with. The result is a dreamlike aesthetic with flimsy structure creating new perceptions of the world. This combination of the romantic sublime of our landscapes has the utopic potential of sites being both metaphorical and tangible.

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