The installation is comprised of a series of eight, three minute
takes of a small alpine lake, all shot at the same oblique angle
to the surface of the lake. The water surface fills the frame.
A constantly changing pattern of ripples plays across the water
reflects an inverted image of the trees and rocks on the opposite
shore. Each take, recorded over a period of several hours, depicts
the complex variations in the water surface as the breeze rises
The sound mixes the mesmeric sound of water lapping on the lake
shore with the distant, and somewhat ominous, sound of a jet
aircraft passing high overhead. The jet sound echoes up and down
the harmonic scale and is a dramatic sonic event in its
own right. It will also be an intrusive intervention into the
otherwise peaceful scene and a sound, which, appears to further
agitate the surface of the lake.
The image of the lake is projected, via a surface silvered mirror,
onto a horizontal screen measuring approximately 10 ft x 9 ft
and raised about two feet above the gallery floor. Seen from
the surface of the water appears to be miraculously suspended
in mid air. Close up, this rising of the screen gives the water
the appearance of having depth.
Viewed from one angle, as the viewer enters the gallery, the
perspective of the water surface and the reflected trees makes
sense spatially since the viewer's angle to, and distance
from, the water surface is very similar to that of the recording
camera. As the viewer moves around the "lake," however,
the spatial coherence is disrupted, since the reflection will
not move as they move. The water reflects only the image of the
trees and rocks, that surround it, and not the image of
the gallery. A close inspection, staring straight down into the
reveals not the bottom of the lake, or the reflection of the
viewer's face, but only an abstract pattern of light and
shade mixing with the electronic components of the video image.
It seems that, through the process of representation, the lake
has lost its ability to reflect the world around it. But, given
time and contemplation, another reading is made possible.
The DVD recording has eight distinct tracks or "chapters" corresponding
to the eight takes of original footage. The "chapters" are
programmed to alternate in relation to the movement and presence
of participant/viewers in the gallery space. In this installation
as represented by the lake, is not seen to be separate from the
technology that re-produces it or the people who observe it.
The viewer is invited to participate in a model in which nature
and technology are seen to be one and the same thing, inextricably
bound together in a playful dance of colour and light.