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VideoArt works available in limited edition |
 | Nail Biter - 2' 45''
© 2002 - Goicolea, Anthony
The video acts as a short visual time lapse in which obsessive behaviors become exagg ... |  | Amphibians - 3' 55''
© 2002 - Goicolea, Anthony
In the past, I have worked primarily in photography and have documented
staged, self- ... |  | Class Room - 6' 20''
© 2002 - Goicolea, Anthony
In the past, I have worked primarily in photography and have documented
staged, self- ... |  | Leaking - 3' 30''
© 2002 - Goicolea, Anthony
... |  | Tickle - 2' 30''
© 2002 - Goicolea, Anthony
In the past, I have worked primarily in photography and have documented
staged, self- ... |  | Sleepers - 6' 50''
© 2002 - Goicolea, Anthony
In the past, I have worked primarily in photography and have documented
staged, self- ... |
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Galleries
· Aurel Scheibler
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Video Statement
By Anthony Goicolea
In the past, I have worked primarily in photography and have documented staged, self-portrait, based performances in order to portray segments from nonsensical narratives as a moment in time. Recently, I have begun working on a series of video projects in which the narrative structure is generated and depicted through the progression of time. As in my photos, I am still interested in self-portraiture, vanity and narcissism as well as issues dealing with the body, bodily functions, beauty, chaos, the grotesque and the perverse.
The videos introduce the element of time into my narratives. I am interested in using this element to chronicle the gustation period of progressive states which ultimately end in destructive or absurd predicaments. The videos act as a short visual time lapse in which obsessive behaviors become exaggerated (as in "Nail Biter""), figures multiply through an invisible regenerative process in "Amphibians" and every day bodily functions mutate into uncontrollable fits and urges as in "Tickle".
Many of the videos are characterized by a limmeted view point. Cropped, stationary, frontal, camera angles with locked down frames combine with minimal cuts and edits to provide the effect of a single seamless progression of time. As in the photos, the camera becomes a tool to document the awkward scenarios enacted and staged for the absentee viewer.
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