I work with expanded cinema, experimental film, video art, installation, public intervention, and media design for stage. My practice is rooted in direct filmmaking: drawing, painting and scratching directly into film frames, and often expanding the project from this root. I am very excited by time-based experiential work and deeply involved with the process of every project, as well as the effects of time upon the life and context of a work, hence many pieces evolve over time as new project elements serving different functions.
My goal as an artist is to affect the electromagnetic energy of my audience through subliminal manipulation of the subconscious. I achieve this in large part by co-opting the same strategies and cinematic devices used by mass media and advertising, such as the formulaic use of light and sound cues, and the time-tested technique of embedding hidden messages in single film frames. I believe there is tremendous power in the unseen, and I exploit that through the hidden mechanisms in moving images.
My recent installations have taken on sculptural elements that speak an expanded cinematic language: they still center individual film frames and the power of the subliminal, distressed or fleeting image, employing such cinematic devices as lenses, transparency, and light. These works are also often site-specific and in many cases employ plants and detritus gathered at the site.
I also love creating a spontaneous artistic experience in public spaces, where people will stumble upon the art in the course of their daily lives. Much of my current art practice is devoted to site-specific public art interventions in public spaces outside of traditional art venues, including online spaces.
In my public intervention and site-based installation work my vision is to establish archival existence in the collective experience of the Present, as well as to propel the cinematic image beyond its conventional shape, form and flatness, and free viewers from predisposed expectations about how to look at film. Defying the standing assumption that art is created primarily for commercial consumption or archival conservation, I often tear apart one work to create another from the same footage, or project original works until they deteriorate.
In my media design work with performance companies I seek an organic understanding between the dimension of space and time inhabited by the living performers and the dimension represented by the visual projections or set elements. My contribution to these collaborations is often to create a window into another dimension, another level of movement or action, occurring outside of – while at once adjacent to, or inside of – the defined dimension of the live action space.
My work, in any of its forms, is essentially an observation of the relationship between light, time, and movement, and the subliminal effect that this relationship has upon any given real or imagined environment, including the humans, flora and fauna that inhabit it.
~ Dinorah de Jesús Rodriguez, 2016