OLIVER VENTRESS

"Footage is recorded data: it exists post-event, attempting to provide evidence for something which is unproven, or unidentified. Video files and documentary films formed from analogue cassette tapes produce a linear timeline or pathway of a journey set in time. Placed onto monitors or framed as stills, they are filtered, monitored and examined, and when positioned alongside diagrammatic research, they provide a visual investigation into movement; presence; potentiality.

 

The experience is then fixed in a bodily format as a material, grainy substance, in a realm where it is not often believed. Once observed, the footage is initiated into consideration, or dispute, as to its reliability. It becomes performative, as an active product of existence. In a virtual, technologically infused infosphere, the amateur enthusiast aesthetic stands up to provide a physical enquiry for surveillance. It asks that you trust and understand a specific way of seeing, as a document. 

 

This mode of practice considers an expression of beingas a subject matter, as I set systematic limits for experimental quests to find things which conventionally may not be real, but have existence, or aura. As a physicality, this involves walking out into the unknown in an attempt to prove something, and retrospectively displaying the findings, successful or otherwise. An earlier piece documented a series of attempts to make personal contact with alien dimensions, as extra-terrestrial life is contested and unconfirmed, but has a sense of possibility. In a recent pursuit, I am an isolated figure in a cold, fierce landscape, as I use rudimentary sonar and motion detection technology, film cameras, GPS mapping and my own emotive premonitions to prove the actuality of a preternatural sea creature."

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