Taking first steps into film-making…..
Why would I choose to explore film-making when technology scares me and I seem to be so incredibly slow to learn? I have had films going on in my head all my life and I’m desperate to get them out. Working in this genre, I’m completely deskilled, reliant on my film editing teacher, and drawing on resources of patience I never knew I had. So far it’s taken me 3 months of practice to start to get the feel of the film editing programme: Final Cut Pro X. Finally I am starting to get the sense of how I can use this technology. It’s like learning to drive a car, some days I’ve got a grasp of it and the road feels like it’s mine and sometimes I’m terrified to pull away from the curb. I still have no complete films, but I have around 20 projects on the go and I’m happy to be able to share the still images from these experiments.
Main Image Above: ‘Wondrous Life (Bee and Beach)’ by Veronique Maria Spring 2013
Image Below: from ‘Wondrous Life’ video series by Veronique Maria Spring 2013
Kate Davey, Art Historian and Writer, 6 June 2013:
When conducting some research into Veronique’s current use of film, I came across the term ‘video painting’, which is an incredibly apt description of what she is producing. Video Painting describes works where a scene is filmed for a prolonged period of time, with very little camera movement. The result at first appears to be a regular, motionless painting. On closer inspection, the works are in fact moving, portraying a sense of the very real passing of time.
Video painting emerged in 2001 after Hilary Lawson released ‘Closure.’ The publication focussed on the ‘theory of closure’ which was directed at what Lawson saw as the “impending crisis of postmodernism.” In this new art, Lawson attempted to avoid closure and approach openness by eliminating the still image – an image frozen in a specific space or time.
This new amalgamation of two very distinguished media saw Lawson exploring this possibility of openness:
“In particular he sought to identify what characteristics were required of video paintings for them to shift the gaze of the viewer from the identification of narrative and closure to the exploration of what he saw as the unlimited potential of visual space.”
A small, initial group of video painters emerged in the wake of ‘Closure’: Sanchita Islam, William Raban, Isabelle Inghillieri, Nina Danino and Tina Keane.
Video painting has since become hugely popular, with certain galleries now dedicated to the art form. The Open Gallery, based in London, was formed in 2006 and solely exhibits video paintings – a form of art that really began with a philosophy. In addition to this, exhibitions focussing on this new art form have taken place at high profile venues including the Institute of Contemporary Arts, The Hayward Gallery and The Miami Ice Palace.
Although video painting in its purest form does not directly describe Veronique’s work (there can be no subsequent editing or manipulation of the image, and no sound), the pieces produced under this title very much represent what Veronique is trying to achieve. Many of the works focus on nature and the passing of time, such as Lawson’s ‘Play in Three Acts’, which quite beautifully depicts the movement of time as darkness falls over a twilight scene in the Black Mountains.
 Smile for London