"... Mt. Ste. Victoire raises its pyramid from a succession of ridges, and all is agitated by infinitesimal modulations and impalpable movements ... Every particle is set moving to the same all-pervading rhythm"
Cézanne: A Study of His Development, Roger Fry, 1927
"Schneemann was particularly interested in how Cézanne's compositional techniques drew the eye into the picture and simultaneously extended it back into the viewer's own space. In her paintings, Schneeman fractured figures in a pictorial space that reiterated Cézanne's picture surface so that the eye could move freely inside the planes rather than cohere in the identification of the figure."
The Painter as an Instrument of Real Time, essay by Kristine Stiles in Imaging Her Erotics, Carolee Schneemann, 2002
In this work I use glass, plastic and mirrors to re-configure video images of Hoad Hill in Cumbria. Finding ways to disrupt the flatness and determinacy of digital photographs, I consider the instability of images and the shifting, faltering nature of perception.
Stone walls, gates and ribbons of plastic fencing (themselves structures that measure and divide) are manipulated into layers of reflections and double-exposures. The fractured surfaces converge in wavering lines, creating unusual geometries and patterns of light and shadow.
Movement is articulated through animated photographs: flickering, agitated sequences that recall the blustery November hillside.
Michaela Nettell, 2010