“Turner Prize 2014 – James Richards”

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Turner Prize 2014

This has been my forth visit to the Turner Prize exhibition in the past two weeks, and yet I still find myself drawn to the same artist. I find my self completely captivated by their work, unable to move throughout the exhibition with the same interests.

The artists whose work I was so enthralled by was James Richards, and his piece being exhibited is entitled “Rosebud”. Admittedly I had never really give much thought to or paid much attention to video/ film art as I had never really been that interested in the concept; but from recently looking in to film in my own practice this has led me too look for and seek out other artists of influence and inspiration. James Richards is defiantly that artist, everything about his discourse; the way in which he creates narratives and the way in which he uses a mixture of dissimilar footage to layer upon divergent sound pieces; all of which work together in a perplexing way.

Richards generates meaning through abundance, by way of allusion, ellipsis and unity of tone, the lack of legibility counterbalanced by a strong” – The White Review

I really liked in the interview above that James refers to his film pieces as abstract sculptures or paintings; much like a sculpture is built James builds upon and sculpts narratives form thoughts and fabricates these into tangible existing acts/ scenes.

“Richards weaves together his emotive films from a diverse range of found and original footage to explore the pleasure of the act of looking” – Tate 

I thought this quote was quite important to mention “the pleasure of the act of looking” this defiantly came across to me when looking at Richards work at time particularly with the scenes of the camera shots submerged under the water then surfacing; the whole motion of the rise and fall and of the distortion were very fascinating and trance like. yet there were scenes where the censored pages of the adult art books appearer where your almost disturbed and repulsed, but there’s something interesting and alluring about the stills where you do not want to look yet you find yourself looking anyway. It is really rather interesting to see the relationship between both kinds of material, although worlds apart that are tangible connections of theme in the sense of both  look at the refraction and distortion of an image or seen, weather that be through the water with the constant submersion and immersion of the camera from the water or from the scratched out areas of the censored adult books both of which translate the same theme of refraction and distortion of an image. 

On reflection of my countless visits to this years Turner Prize exhibition, I will defiantly be taking away with me some new ways of which to thinking about and approaching film/ video.

 

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