BRISBANE.- This exhibition juxtaposes two artists exploring digital imaging. Melbourne' s Daniel Crooks is known for his 'time slice' videos, which draw on the precedents of cubism and the chronophotography of Etienne-Jules Marey and Eadweard Muybridge. Crooks computer processes original video footage so that each frame contains areas from the original shot, but from different moments in time. The effect is to spatialise time and to temporalise space. Sometimes Crooks so distorts and abstracts his subjects that they become unrecognisable; other times the effect is subtle, suggesting an uncanny bulge in an otherwise familiar scene.
At art school, New Zealand artist Jae Hoon Lee began using a flatbed scanner to record changes in his skin. He documented sores, pores, freckles and hairs in gross detail, pressed up against the glass, then collaged the scans to create sheets of skin, deranged diaristic bodyscapes, which he presented as photographs and videos. He has gone on to create other works exploring the relationship between the perspectiveless gaze of the scanner and computer image processing and our conventional expectations of photography.
Grant Stevens is known for his pithy text-videos exploring vernacular and mass media truisms and recalling advertising, movie trailers and relaxation videos. Stevens trades in cliches, platitudes and stock phrases but points to their richness, probing the overlap between mass media fictions and everyday reality. While some of his works play on language's slipperiness others emphasise its hyper-lucidity. Against the backdrop of modern life's impossibly hyperactive schedules, his new works go fishing for personal reflection, self-expression, self-help, new age spirituality and other ways to get a grip. The former Brisbanite, now based in Los Angeles, has returned to make a new show for the IMA. Here he presents a video text-mandala and a freestanding wall covered in a waterfall wallpaper-mural with an inset sound system.