Alex Lundy’s exhibition, Seen and Foreseen, is a response to the 1962 film La Jetee by Chris Marker, focussing on the way time can be conveyed within a static image using methods of screen-printing and large digitally manipulated drawings. This method of image manipulation references Marker’s predetermined narrative in La Jetee.
Using the photocopier as a tool to reimagine how an event can be observed at different points through space, a static image is manipulated by hand to document a fluctuating, stretched, compressed or duplicated version of the original image. The outcome becomes both familiar and uncanny versions of itself, something similar to a déjà vu in the eye of the viewer, or subject.
This process continues Lundy’s investigation of the interdependent relationship of digital and analogue methods of image making, with contradictions in the work serving to highlight gaps between the experience and memory of human time, and the digital measurements of spatial time.
Image: Alex Lundy Seen and Foreseen 2018, graphite on paper, 150cm x 100cm (approx.)