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These thirteen paintings should, in fact, be counted twice because most of them consist of two parts via a split screen. One image - a staring face - keeps coming back most prominently; in the other half there are, for example, nineteenth century photographs of people in exotic costumes, or cityscapes. In no. 6 there are rows of books in which the name of Michel Foucault figures prominently. This seems to be a clue to the structuralistic inspiration on which this tape is founded. The many manipulating interventions are noticable in both the sound track (chirping birds, traffic noise, sentences from language courses) and the images (very rapid pans across discoloured landscapes, undulating water). The sound is asynchronous and modulated. Even the jerks in the represented time scale are an indication: they ensure double experience but also half recognition. Furthermore, image and sound hardly come together. The real world crumbles into a book being rapidly thumbed through and from which only ephemeral experiences arise.
–
Erik Daams
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