Drinking Retsina in a paper boat
Re enactment and evocation are intertwined. It is the re creation of pictures within pictures - stand out moments from history that carry forward into living memory to be reborn. These can be tiny, triggered by a word or a name or the flicker of an eye - but the resonances they create pulse continually to colour the present moment.
The work of Ian Forsyth and Jane Pollard often begins with music as a site for collective remembrance - a mass orgy of sensations and conflations of memory. The ardency displayed by the subjects of their films, whether through the conduit of a mix tape, gloss make up on skin or the lyrics of a song elicits a 'liveness' in the eyes of the speakers. A visual reawakening of the potency of the original encounter and associated encounters.
The duo align this sense of liveness with something that is textural, hand crafted and ultimately flawed - such as the lovingly destroyed and degraded film footage of the Cramps concert that formed their reworked bootleg - and this scarring, this troubled surface is what creates a greater proximity of the real and lived.
Revenance and Reverence all at once.