Fishy soup, sticky reflection
When visiting coastal Spain I went with my daughter to a remote beach, where she, as always I may add, started directly with a beach cleanup. I went there to make circular footage with an improvised set of bars and a small camera. At that moment I had no idea what the film would be about, just that I wanted to experiment with the motions of the sea and my simple moving tool.
As often, we were astounded by the sheer number of garbage found lying around on this somewhat remote beach. Obviously, the rubbish comes from two sides, from land and seaside.
When walking back on the small country road next to a tomato farm, we noticed also thousands of small pieces of black thin foils. Once used in the agricultural fields as protective foil, it was now the neglected waste degrading in the environment. We felt sad about these troublesome leftovers and thought of the necessary actions needed here.
Back home, I started to edit my video material and soon I realised that the film would be about what people can not see with their own eyes, they may easily neglect or even deny. Likewise climate change is often not accepted by laymen and politicians alike, although the scientific evidence of the human causes are abundant.
Thus, my footage which is mostly governed by physical realtime effects, has been only slightly adapted in order to make the disregarded movements visible. By recording at 50 frames per second and playing it back a bit slower, the eyes will see artefacts that easily may be plastic soup parts like the microplastics that are infiltrating in our food chain as well.
The work ‘As Eyes Can Not See You (anthropocentric soup)’ comes in two parts. One is made in and above the water, the other on land. It shows in this way two environments that are manipulated and effected by man. As film the parts are shown in sequential order. In an spatial exhibition I would prefer to show this as a diptych, so one could see the contrasting and mutual influencing parts at the same time.
The second part is made by me filming from a long bar, which in fact is the physical cause of the images turning round. I think this explains in a subtile way how we, me included, how we are inflicting our future environment with every footstep. Ending on a bunch of collected garbage, where my offspring has assembled what damage has been done already, it leads to a kind of a dystopian conclusion, which stops the film in darker tones while the actual sticky problem continues.