Presented at the Kochi Biennale 2016, this mixture of video and installation takes an observational approach to the city and addresses the discomforts that reveal themselves to the public in an ever-changing environment.
This has led to the video Symphony of The Flying Objects where the movements of cranes are recorded, as a sight synonymous with metropolitan living. The video is arranged so as to replicate a symphony in visual terms. Shot in a ‘deadpan’ manner, the precarious phenomenon of the flying objects seems to be amplified as they slowly weave their way across the sky. The audience encounters and is surrounded by these objects which reveal their ever looming presence, despite them becoming background noise. Whereas within the sculptural installation Hammer/Buddha’s Hand a physical record of history can be seen violently beaten upon its structure. Once, part of an object revered as a guide to enlightenment, it transitioned to the use as a hammer (thus the dents and marks), and then to an aesthetic object of historical value. In dialogue these objects ask how we might orient ourselves in relation to history when its meanings change drastically.