It also pays homage to specific movies, including Mikhail Kalatozov’s (1903-1973) anthology drama Soy Cuba or Werner Herzog’s (b. RM: Broken Spectre incorporates elements of global cinematic styles, from the tonality of Italian neo-Realism to the Cinéma vérité of French filmmaker Jean Rouch (1917-2004). How does it differ from other representations? Viewers can still appreciate the power of the image without interpreting the conclusions of the data.Ī: The rainforest is mapped on a macro and micro level: featuring satellite imagery, portraits of the indigenous Yanomami community and zoomed in depictions of plants. I feel the imagery is successful if it can echo ubiquitous photographs of burning trees that we’ve already seen and become inured to. As an artist, I am engaging with both the visual’s aesthetic and scientific qualities. Tropical skies turn black and the forest glows white like embers. The false tonal palette, created from wavelengths between visible and infrared light, differentiates between healthy and dying plants. It was entirely homemade and processed by hand in my studio you can see the fingerprints of the climate emergency pressed into the film’s heat sensitive emulsion.
Satellite cameras reveal dieback with unsettling clarity. A custom-made multispectral video camera mounted to a helicopter captures the systematic clearing of land for agriculture. RM: I’ve used a range of media, so it shifts gears in quite violent ways. Why is this approach effective in presenting the effect of deforestation? This has since evolved into the more ambitious, immersive film, Broken Spectre.Ī: Your new moving image work, Broken Spectre, presents desolate landscapes in vivid colour, offering a renewed depiction of the Amazon with scientific imagery technologies. Although this change in subject might seem like a clean break, all of my work is united in an examination of the lived environment. Eccentric nocturnal portraits of plants and insects demonstrate the connections between lifeforms in the rainforest – a topography that is simultaneously over and under-represented. Ultra was my first attempt to describe the non-human.
RM: I have spent the past ten years working with scientific imaging technologies to defamiliarise subjects and mediate complex human narratives.
It pairs stark footage with accounts from Indigenous communities – imploring global viewers to see the impending fate of the biome, whilst highlighting the impact of inaction in the face of crisis.Ī: You began documenting human rights atrocities associated with the land with Infra (2010-2015), before turning your lens to the ecological crisis with Ultra (2019-2020). In the film, now on view at the National Gallery of Victoria, the artist, along with Australian composer Ben Frost and American cinematographer Trevor Tweeten, asks us to look anew at the environmental and social disaster. 1980) urgent new film, Broken Spectre, which depicts the destruction and devastation of the Amazon – an area which spans 6.7 million km2 and is often referred to as the “lungs of the earth.” The 20-metre panorama makes its world premiere at a poignant moment: the rainforest is rapidly approaching a point of no return. The etymology denotes definitions from “colours, an extreme between two points” to “a ghostly, yet ever-present vision.” Now, the word appears in the title of Richard Mosse’s (b. Spectre comes from the early 17th century Latin word for spectrum, which further traces to specere, or, to look.
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