Rosa Barba in Conversation with Lynne Cooke 13/2/13 @ Turner Contemporary, Margate 
Rosa Barba’s current exhibition showing at the Turner Contemporary- Subject To Constant Change. 
Having previously seen the exhibition (see later post) and in particular I had an interest in the film commissioned by Turner Contemporary- Subconscious Society, I decided that I would attend the conversation that was held at the gallery last night. 
Unsurprisingly I found a few similarities between her work or ideas and my own, She deals with light, almost in the same way as I have previously worked, but in a more physical way than myself, through use of Super 8 footage, working with physical film. I work digitally, out of ease, and the ability to have instant results. I previously commented that film reflects how these buildings are obsolete, and if I didn’t have so much time and funding constraint, I would consider using super 8, as I love the aesthetic of it, and have previously tried to replicate it in my film I made for the Nexus project. 
Rosa stated that she tries to eliminate a sense of time for the viewer, or the ability to place a location within history. She takes influence from Science fiction, for its ability to lose time, and its inability to place historically. 
'Is sci-fi strong to your mind universe?' (Lynne Cooke) 'it's a tool as I'm trying to make images when don't know time it's in. Sci fi gives this' (Rosa Barba) (From TC twitter) 
The Sea Forts look like something from War of the Worlds in my opinion, and lend themselves to science fiction. This adds to the atmosphere of the piece, also, they’re uninhabited and a lonely group out in the ocean. I want the same atmosphere within my own work. Which could come through in the same way as it has in Rosa’s work. 
Rosa said that she records all of her sound on location whilst filming, and then edits the soundtrack after the footage. 
The tracing of the coastline at low tide that occurs regularly throughout the film, shows the structure of the land being revealed, and alludes to a misrepresentation of scale, is this the land, or is it microscopic? Rosa states that she searches for places that have a sense of abstract scale. 
"In Kent it was more about the landscape the outside and the subconscious here there’s something about the subconscious" RB
The landscape reflects the subconscious of the mind, something which I’m also hoping to achieve in my film. Looking at Psycho-geography of a location through researching it’s history.

Rosa Barba in Conversation with Lynne Cooke
13/2/13 @ Turner Contemporary, Margate

Rosa Barba’s current exhibition showing at the Turner Contemporary- Subject To Constant Change.

Having previously seen the exhibition (see later post) and in particular I had an interest in the film commissioned by Turner Contemporary- Subconscious Society, I decided that I would attend the conversation that was held at the gallery last night.

Unsurprisingly I found a few similarities between her work or ideas and my own, She deals with light, almost in the same way as I have previously worked, but in a more physical way than myself, through use of Super 8 footage, working with physical film. I work digitally, out of ease, and the ability to have instant results. I previously commented that film reflects how these buildings are obsolete, and if I didn’t have so much time and funding constraint, I would consider using super 8, as I love the aesthetic of it, and have previously tried to replicate it in my film I made for the Nexus project.

Rosa stated that she tries to eliminate a sense of time for the viewer, or the ability to place a location within history. She takes influence from Science fiction, for its ability to lose time, and its inability to place historically.

'Is sci-fi strong to your mind universe?' (Lynne Cooke) 'it's a tool as I'm trying to make images when don't know time it's in. Sci fi gives this' (Rosa Barba) (From TC twitter)

The Sea Forts look like something from War of the Worlds in my opinion, and lend themselves to science fiction. This adds to the atmosphere of the piece, also, they’re uninhabited and a lonely group out in the ocean. I want the same atmosphere within my own work. Which could come through in the same way as it has in Rosa’s work. 

Rosa said that she records all of her sound on location whilst filming, and then edits the soundtrack after the footage. 

The tracing of the coastline at low tide that occurs regularly throughout the film, shows the structure of the land being revealed, and alludes to a misrepresentation of scale, is this the land, or is it microscopic? Rosa states that she searches for places that have a sense of abstract scale.

"In Kent it was more about the landscape the outside and the subconscious here there’s something about the subconscious" RB

The landscape reflects the subconscious of the mind, something which I’m also hoping to achieve in my film. Looking at Psycho-geography of a location through researching it’s history.