at the overturn
Digital Video and Sound, 17min 55sec
2018


The film’s central pivot rests on the idea of a dislodged and a fragmented sense of con- sciousness, where boundaries — between what one is and what is not—are hazy. As
a result, this consciousness lacks a centre, and is constantly looking for one. By doing so, it acts as a parasite looking for a host, to attach itself to and consume. Linked with the idea of the parasite, is the idea of nihilist subjectivity; where points of not knowing and points of meaninglessness become generative sites for forging ideas around this dislodged consciousness.

Taking this as a base, the films explores these ideas of parasitic time in relation to a lover; notions of heat, self-immolation and how they are intrinsically tied to notions of nihilism. The film is sourced from a range of ideas and sequences, which include: a confrontation scene from Solaris, 1972 (By Andrei Tarkovsky), Self Immolation by Qung Duc, 1963 in Saigon, Vietnam and The Promethean myth.


Mark