ARCHIVAL INKJET PRINTS (L. to R.: Glitchfield 1: Canal (Metro, Madrid), 30 in. x 30 in.; Glitchfield 2: Ave (Renfe Madrid-Cuenca), 30 in. x 30 in.; Glitchfield 3: Viaduc (Coulée vert, Paris), 38.5 in. x 40 in.)
In a spirit similar to that of the Intra-spherical Projections, the Glitchfields deploy an everyday, consumer-oriented image-making technology against its intended function. In this case, the panoramic feature of the celular phone camera is trained not upon a linear expanse of space per se, but rather upon bodies moving within that space. These are precisely the kinds of scenarios to which the panorama function of mobile cameras are most ill-suited. What they manage to reproduce, instead, are discrete serial traces of mobility across a span of time. Alternatively, one might understand each element of a Glitchfield montage as a vivisection of physical displacement (Duchamps’s Nude Descending a Staircase, updated for the Age of the Ubiquitous Image).
Each Glitchfield represents an assemblage of mutliple vivisections derived from a single location. Click on any image to enlarge.
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