If a building had a memory, with secrets to tell, what would it say?
‘Slip in Time’ began as an enquiry into the secrets a building might tell, if only we spoke the same language. Video artist, Shari Baker, and composer, Mark Sullivan worked collaboratively to suggest a hint of these memories, dislocated in time.
Responding to the space, they used visual and aural artifacts sampled directly from the building, to explore the traces and fragments left behind. Weaving a vast historical and social tapestry of memory itself.
The short film, which was created, will be on view as part of the Temple Works torch light tours, running during the Leeds Light Night Festival on October 9th, 2009.
The work brings together fleeting moments, captured as glitches in time, half remembered, visual and aural metaphors with a narrative that is both haunting, yet soothing, and somehow, just beyond our reach of comprehension. Immense in its quietness, it is intended to leave us wanting more, just like memories themselves.
The project was created as a transatlantic collaboration, with composer Mark Sullivan. Video and audio was captured by Shari Baker and then processed and edited, by the duo. Being passed back and forth during the development of the piece, which ultimately, became a response to each others work, and the building itself.
Shari Baker is a video artist and educator who develops video experiences for performance, installation and online media. She collaborates with a wide variety of sound, video and interactive artists, to explore the creative relationships between digital and analogue communication, and the shared language across the visual and acoustic domains. Her work combines both the whimsical and the provocative and has been exhibited worldwide.
Mark Valentine Sullivan, a composer working with sound, with photographs, and with multimedia compositions, has performed and exhibited around the globe. He continues his creative research into the relationship between music, language, and movement, between still images and sound, and between the language shared between the visual and the acoustic, and has pursued projects relating to a wide range of experimental practices in music, photography, and aesthetics. He has been closely involved, for twenty years, in schools and a range of communities, fostering imaginative and critical understanding of artistic activity.
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