My practice-based research aims to critically examine the concept and processes of metalepsis, a condition experienced by audiences through a particular encounter with the uncanny.
Narrative metalepsis occurs when a story's narrator intrudes into the narrative universe, or the inverse.
Metalepsis is the central theme of an emerging field of research termed ‘Boundary Language' (Kunze, 1998-present) a visual study promoting experiment in critical theory, through interdisciplinary study of topology, architecture and psychoanalysis. My own research seeks to employ this methodology as a means to test ways that radically shift the subjectivity of a spectator of moving image to profoundly reconceptualise the experience of difference.
I shall set up a series of experimental moving image works that radically flip the subjectivity of the audience. The works will test how a spectator may be radically positioned in relation to the screen, author and auditorium, to confront oneself as Other.
My work is concerned with the transmission and interpretation of culture across time. My fine art practice explores relationships between cinema, sculpture and live performance, where the spectator, art object and its relative position in space and time become an interdisciplinary medium. I have exhibited extensively, with recent screenings and commissions at Tate, Hayward Gallery, BFI Southbank and Channel 4. In 2000 I founded an experimental research platform, The Wayward Canon, is a site for radical exploration of cinematic practices. Events include portmanteau film with disco transition Simon and the Radioactive Flesh (with Giles Round) (2007), Horror Yoga (2014) Tate Britain and 40 Days at the Rhumba (2018) Kunsthall Oslo. I have published articles and essays on cinema and art in Artforum and Frieze magazine. I am represented by Rodeo gallery and my video work is distributed through LUX. Find out more: http://www.markaerialwaller.com/