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Which clippings match 'Authentic Residue' keyword pg.1 of 1
06 MAY 2012

Outtakes from a 16mm colour film

Outtake from a 16mm documentary called "Horseplay" that was created by Simon Perkins in 1990. The film was shot on location in Waimate in the South Island of Aotearoa New Zealand at Philip and Lee Trusttum's farm. The footage was photographed by Peter Bannan on a CP16 with sound being recorded by Robert Sarkies on a Nagra. The outtakes show Lee, Philip and Robert as well as Vivienne Stone and Peter Leech. Note that the poor image quality is due to the crude transfer process which involved pointing a VHS video camera at rushes being played on a Steenbeck film editing bench.

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TAGS

16mm1990analogue errorsartefactingartefactsauthentic residueclapperboard • CP16 • deleted • deleted scene • design processdetritus • edit out • editing • editing process • farmfilm • film burn • film scratches • final cut • flares • flash frame • flash frames • flashframes • glitcheshorseHorseplayLee TrusttummaterialityNagraomission • outtake • overexposed frames • paintingPeter BannanPeter EvansPeter LeechPhilip Trusttum • removed • Robert SarkiesSouth Island • Steenbeck • takes • telecineunintentionally • unused • Vivienne Stone • Waimate

CONTRIBUTOR

Simon Perkins
06 SEPTEMBER 2011

Riduan Tomkins' formal use of figuration

"Figuration itself is not inconsistent with the Modernist tradition since, even the most abstract of Modernist work makes references to things outside itself, yet, of all the features in Tomkins' work, the distinctive way in which he uses figuration seems to set it apart from the rest. Giacometti–like (although informed by Picasso and Matisse) troupes of figures edge around the paintings always playing some formal role but never solely in virtue of their form, scale, colour or location. Typically they point, both literally and figuratively, to formal elements in the Works, including, curiously enough, each other – but they also fly on trapezes, hold safety nets, dance and strike poses. None of the figures, however, are merely incidental to formal issues and although interdependent with them they have, as well, a life of their own. This invites interpretation, at least to the extent that we find ourselves reflecting on how and why the figures appear to us as they do – like mute vandevillians whose master, Tomkins, having rendered them onto some flattened proscenium, orchestrates their participation in a frozen theatrical tragicomic tableau. However, we cannot know the purpose of such entertainments beyond their capacity to intrigue and amuse us."

(Ted Bracey, 1987)

2) Ted Bracey (1987). Robert McDougall Art Gallery [now Christchurch Art Gallery Te Puna o Waiwhetu].

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TAGS

abstraction • Alberto Giacometti • Aotearoa New Zealandauthentic residueChristchurchcolour fielddancedesign formalismfigurationfiguresfigures in spaceflat spaceflat surface • flattened proscenium • formformal elements • formal issues • frozenHenri Matisselegitimacyminimalist artmodernismmodernist traditionPablo Picassopainting • pentimenti • pentimento • proscenium arch • reflexive aesthetic practices • Riduan Tomkins • scale • School of Fine Arts • strike a pose • tableautableau vivant • Ted Bracey • theatricaltragicomictrapezeUniversity of Canterbury • vaudeville • visual language

CONTRIBUTOR

Simon Perkins
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