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Sam Taylor-Wood's video and video-installation observe time in different ways.
In Killing Time four people separately sing - or mouth - individual parts from a 19th century opera, in the privacy of their homes:
'I said to them, don't be theatrical, be nonchalant and relaxed, bored or whatever you're feeling; just don't express anything... So there's this really nice conflict between the high drama of the opera, which is so explosive and very passionate, and then these four people looking utterly bored by the whole thing, without any expression or feeling towards what they are hearing.'
The whole one-act opera is recorded in real time. In Brontosaurus the time and the context have both been manipulated - the dancer was filmed for half an hour dancing to a tape of really fast jungle-techno music:
'I put ten minutes of it into slow motion and then used very melancholic classical music over the top of it, so the whole feeling of it has completely changed; it becomes almost like an elegy. Calling it Brontosaurus was a reference to the small pink fluffy toy in the corner.'
Work included in The British Art Show 4
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Brontosaurus |
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Sam Taylor-Wood was born in 1967 in London. She graduated from Goldsmiths' College in 1990 and after leaving college worked for a short while in the Wardrobe Department at the Royal Opera House, Covent Garden, while at the same time continuing to pursue her own work. She has had solo exhibitions in London and has exhibited in group exhibitions, including Corpus Delicti in Copenhagen and "Brilliant!" New Art from London, at the Walker Art Center, Minneapolis, in 1995.
Sam Taylor Wood was in conversation with Marcelo Spinelli for the British Art Show IV talking about:
-Art and the Public
-Brontosaurus
-Early Works
-Five Revolutionary Seconds
-Fuck Suck Spank Wank
-Killing Time/16mm
-Method of Madness
Référence: http://www.illumin.co.uk/britishart/artists/stw/