Untitled (White Spider) was created using two clips from a previous work. I duplicated these clips to form a multiplicity of layers of limbs and movement to evoke a sense of animality. I distorted the imagery through magnifying, stretching, embellishing, masking and adjusting tonal aspects.
My intention was to create a non-identity - a fluidity. Something that falls between human and nonhuman, an embodiment of spider modes - an identity in transition - becoming other. This was my only aim, nothing more.
I recycled clips from a body of work that explores the interiority of animality. The work is experimental in nature with developmental and transformational aspects mostly taking place during the post-production stage. During post-production, my role very much becomes one of mediator rather than creator. I facilitate the making process. As with Untitled (Black Spider), I abandon control and intuitively experiment with different techniques until the film becomes something other than it was. It's a non-prescriptive process with no hard and fast rule and there's no predicting the final outcome. And that's the most surprising and insightful thing.
Accompanying Untitled (White Spider), forming a diptych, is a film that invites the viewer on a journey into spidery territory - a world of cordyline leaves and insects. This magnified world perhaps suggests a spider perspective - an embodied experience. A prominent aspect of the film is the loud crackling and rustling sounds that emanate as we probe deeper and deeper into the inner sanctum of the spidery domain. These natural sounds, as the camera passes through and over the dry and crispy space, creates a sense of us being small and engulfed in a dark and shifting space... an otherworldly environment.