During cinematic history, experimental filmmakers pioneered a direct approach to the materiality of the film’s image in order to attack the expected meaning of the source image. Today, by using technologies such as printers and scanners designed and marketed for reproducing, archiving, and sharing, consumers eliminate the image’s original intended message.
In this piece, by recycling the still images in the video using a printer and a scanner respectively, I aimed to disrupt the transparency of the filmic medium. The affective texture in my work, either in the recycled piece or in the miniature videos, plays the role of a face on the screen like an affection-image in a Deleuzian sense. The poor image becomes sensory and haptic and finds new and different aesthetics and values.
© Maryam Muliaee 2018