"Contour" is a kinetic light installation trying to reconstruct the mental spaces of film. It cuts the stills of filmic space out of a sheet of metal, rotates them until they become revolved spaces, experienced through light.

It's an interdisciplinary translation between architecture and film, focusing on phenomena of perception and persistence. Here, the subjective embodiment of phenomenological processes is what helps us make sense of what we take in. Dealing with the interpretation of a filmic environment, "Contour" aims to reconstruct the phenomenological environments of Alexander Sokurov’s “Russian Ark”. In this film, one continuous shot connects the entire narrative through the halls and rooms of Saint-Petersburg’s Hermitage. We, the audience, follow the camera’s perspective on its path through the inside architecture of time.

Architecture here is trajectory, connecting events and placing them on a linear timescale. Architecture here is trace, the framework onto which events are constructed, the screen onto which moments are projected.

When confronted with architectural environments through the lens of a camera, the viewer follows the path and the perspective of the camera.

The viewer takes in its point of view, taking in the trajectory of events with architecture as its framework. The camera has a point of view, a linear direction and a trajectory. It never looks back, and offers no insight in what’s behind it. This forces us in the development of mental images, a represented reality with a sense of wholeness or coherence in order to make up for the cinematic shadows on the dark side of the camera’s standpoint.Much like archeologists, who reconstruct the whole by putting the pieces of the puzzle into place, and fill in the missing gaps by interpolating along the traced pieces to create the ‘whole’ object.

"Contour" is an effort to translate experienced space in a reconstructed environment, on the edge of architecture (the model) and film (the ephemeral)


mats dekock ~ transmedia°architecture

© 02019 by MATS DEKOCK.