Abstract

The Jump built on my research into the cinematic and specifically the relationship and contradiction of a succession of individual images creating the illusion of movement (previous work included Frames -http://www.andrewbracey.co.uk/page15.htm). the Jump also explores cinema’s relationship to painting as a means of creating spaces rather than recording them, which is becoming more prevalent within the CGI as opposed to a traditional relationship of cinema emerging from photography. The piece was a 30 minute animation, composing of over 500 paintings interpreting every still image from the film, La Jetee. Chris Marker’s seminal film is perhaps the clearest indicator of how cinema is made up of still images. The work was shown as a back projection onto a screen in a group exhibition, Between Tracks (15/05/2009 - 11/06/2009) made up of 6 Swiss and 12 British artists at Badhaus, St. Gallen, Switzerland. I was invited by British curators Lesley Young and James Hutchinson of The Salford Restoration Office and Swiss based Nextex with Rachel Lumsden. The exhibition was supported by British Council, Arts Council England, Swiss Arts Council and Swiss Cultural Fund in Britain.
The Jump was discussed as part of Janet Harbord's keynote lecture, Excentric Cinema at an academic roundtable discussion on artists and cinema at Cornerhouse, Manchester on 12th November 2010, co-organised by Cornerhouse, Centre for Interdisciplinary Research in the Arts and the Institute for Cultural Practices at the University of Manhcester.
It is also included in a touring exhibiton, the Machine Aesthetic, curated by Eric Butcher and Simon Granell which tours to Gallery North, Newcastle, Bath Spa University galleries and Text & Work, Bournemouth. The exhibition also includes Emma Hart, Dan Hays Simón Granell, Natasha Kidd, David Connearn, Sarah al Omar, Eric Butcher, Michael Roberts, Mark Vaux, Rob Currie, Sarah Key, Ross Hansen and Tim Knowles.