In a web of interrelated works consisting of photography, video, performance and installations Seers interweaves concepts of science, philosophy and photographic theory. All her artistic output evolves around both an autobiographical and biographical narrative that is presented in a variety of ways. This includes films in documentary style in which different narrators account for the strange events of the artist´s life that have subsequently lead to turning her body into a camera (her mouth the aperture and shutter), an involvement in ventriloquism, and her most recent attempt to become a projector. In Seers´ upcoming publication ´Human Camera´ David Burrows describes Seers´ work as an ongoing investigation into “how cinematic and photographic technologies shape notions of identity and memory”. Burrows connects the latter two notions to that of the index. He defines indexes as “signs that are physical traces that evidence something has existed or taken place” and links this to Seers attempt to become a camera – one of the primary indexing machines of the 20th century. However, instead of using the camera to fix and document, Seers creates “an indexical process that is transformative” (Burrows). By re-casting photography as an act that actually creates experiences rather than records them, the boundaries of photography and projection in Seers´ work are truly extended.
At SMART Project Space, the artist presents recent films, including ´Extramission´ in which Seers transforms herself into a projector, photographs and an installation created especially for the occasion. The installation is based on the Black Maria, the first-ever film studio where all the earliest shorts were filmed for the Edison Kinetoscope, beginning in 1894.
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