| EBBA ROHWEDER es de VIDEO COMPOSITION
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| EXHIBITIONS
BUNT - Solo exhibition of video and painting 16 November 2018 - Free improvisation with Ricardo Tejero - saxophone, Gregorio Kazaroff - cornet, Ivor R. Tamplin - live sampling The starting point of the exhibition BUNT - which in German means multicoloured - is a recently created public park in the centre of Madrid, called Madrid Río, abouve the motorway tunnel of the so-called M-30, Madrid's main traffic ring road. The linear architecture of this park, following the route of both the motorway and the Manzanares river, is characterised by a plantation divided into large areas of monoculture which, through intensive and artificial care, come into bloom in perfect harmony at the same moment. They look like huge carpets of a single strong and bright colour. The video BUNT focuses precisely on this vegetation intervened by human action. Through an abstraction of the motifs, it allows us to immerse ourselves in the contemplation of colour and its tonalities, turning the projection screen into a virtual canvas, a digital painting in minuscule movement.  Yellow - acrylic on canvas The paintings emerge as a reconversion of the virtual canvas of the projection screen into concrete, tangible objects. Elaborated according to the motif pattern of each colour of the video BUNT, the manual and plastic work transforms the ephemeral and cold sensation of the video projection into heat and energy materialised as if they were vegetal portraits. The exhibition BUNT is an invitation to delight in visualising the liquid border between artificiality and the essence of nature - its fragility and transience, its uniqueness and imperfection, the mysterious and enigmatic power - an ephemeral gesture, exquisitely useless and idle, as immeasurable as art or as giving flowers.  Purple - acrylic on jute
BUNT (2017) - video, 20 min, colour, silent, 16:9 format. GREEN, RED, BLUE, YELLOW, ORANGE, PURPLE (2017-18) The painting series GREEN, RED, BLUE, YELLOW, ORANGE, PURPLE arise as a reconversion of the virtual canvas - the digital video projection - into analogue, concrete and tactile objects. Elaborated according to the motif pattern of each colour of the video BUNT, the manual and plastic work - painting with brushes and acrylic on paper or canvas in real time as opposed to computer work editing material already made for the purpose of a digital product - traces a path in reverse: it reconverts the ephemeral and cold sensation of the video projection into materialised warmth and energy. Keeping the idea of the focus on pure colours I elaborated for each primary colour a series of paintings of varying sizes - from small to large formats - in strong and bright shades. By joining the paintings of one colour on top of and/or next to each other, as in the video projection, the perception of abundance and expansive radiation is produced, allowing the enjoyment of immersing oneself in a sea of colour. But unlike the video BUNT, which heightens the appearance of perfection, idealising and standardising plants, the paintings rediscover the hidden essence of a flower: its fragility and transience, its uniqueness and imperfection, the mysterious and enigmatic power of flowers. It allows the delight of difference and individuality through the natural course of a flower - growth, maturity and fading - challenging the idealised and constant image of standardised and indistinguishable objects comparable to supermarket vegetables and fruit genetically treated so that they no longer spoil, no longer change colour and are all the same size and unified appearance. Green - acrylic on canvas The video BUNT consists of sequences of 3 to 4 minutes each per primary colour - green, red, blue, yellow, orange and purple - in close up. The six sequences are monographic for each primary colour. For each sequence I chose specific digital modifications: either a gradual and slow change between colour and black and white or the other way round; either blurring or the introduction of different frames for each colour. The focus on a single motif together with the slowness of the modifications dilates the sensation of time, allowing one to immerse oneself in the contemplation of colour and its tonalities. Through the lack of abrupt changes, by gradually abstracting the details towards an abstraction of the motifs, one enters into a state of reception of pure colour, colour in mass. The projection screen thus becomes a virtual canvas, a digital painting in minuscule movement allowing contemplation. With the introduction of frames the idea of painting is emphasised. A frame has the function of directing the view, focusing on a detail, selecting a space, framing an area, thus producing an interior and an exterior. Together with the choice of the field of view of the video recording and the edge of the projection screen, multiple possibilities of combination of these different frames are created. In each sequence I experiment with these notions in a different way: either with frames cut by the edge of the projection, or with frames moving slowly over the video motif, or with frames appearing and disappearing over an out-of-focus motif and gradually revealing a focused motif.
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