Michael Snow (b. 9128, Canada)
De La, 1969-72
Observer, 1974

In ‘De La’ the mechanised camera streaming live video footage to four monitors is exhibited as a sculptural piece. I am curious about this subversion of roles, the method becoming the subject matter – while remaining functional as method nevertheless, providing several perspectives for the audience at the same time, each of them enabling different meanings.

Observer, presenting the viewer with a view of themselves from the above is also peculiar shift of perspective. The viewer becomes the subject matter, the artwork, while remaining spectator as well. I see here interesting affinity to my growing collection of people looking at art, art looking at art, art looking at people, people looking at people… All those shifts between the spectator and spectated suggesting arbitrariness of role attribution – that is most pertinent to my exploration of the porosity of the frame and has direct links to my works like ‘Colaborations’.