Experiencing Interruptions?

The Sunshine Bores | The Daylights

This small project extends my response to Virginia Woolf's novel, The Waves, from earlier works, The Tree Alone and The Weight of Centuries (from 2009-2010). The work takes the form of a single-channel video with audio tracks contributed by artist and musician, Rachel Blumberg, and includes text excerpts from the novel.

  • Dawn Roe
    Director
  • Project Type:
    Experimental, Short
  • Runtime:
    5 minutes 39 seconds
  • Completion Date:
    April 1, 2016
  • Production Budget:
    100 USD
  • Country of Origin:
    United States
  • Country of Filming:
    United States
  • Language:
    English
  • Shooting Format:
    Digital
  • Aspect Ratio:
    16:9
  • Film Color:
    Color
  • First-time Filmmaker:
    No
  • Student Project:
    No
Director Biography - Dawn Roe

Dawn Roe works with still photographs and digital video in both singular and combined forms. She relies upon the reproductive nature of these media to activate and make visible perceptual inconsistencies between experienced and recorded time.

Recent solo and two-person exhibitions include Visual Voice Gallery, Montreal, QC, Canada; The William King Museum, Abingdon, VA (2014); The White Box at The University of Oregon, Portland, OR; Clara M. Eagle Gallery at Murray State University, Murray, KY (2013); Screen Space Gallery, Melbourne, VIC, Australia (2012); The Orlando Museum of Art, Orlando, FL (2010); and Newspace Center for Photography, Portland, OR (2009). Her works have also been exhibited at The Asheville Art Museum, Asheville, NC; The Copenhagen Photo Festival, Copenhagen, Denmark (2014); The Perth Centre for Photography, Perth, WA, Australia (2013); The Light Factory Contemporary Museum of Photography and Film, Charlotte, NC (2012); Beam Contemporary, Melbourne, VIC, Australia (2011); and other venues throughout the U.S. and abroad.

A recently completed two-year public art commission from the Broward County Division of Cultural Affairs resulted in the production of a suite of artworks for the Fort Lauderdale-Hollywood International Airport. Roe is also the recipient of various awards and fellowships from The Elizabeth Morse Genius Foundation, The Associated Colleges of the South/Andrew W. Mellon Foundation, The United Arts of Central Florida, The Banff Centre, The Hambidge Center for the Creative Arts & Sciences, The Visual Arts Centre at LaTrobe University, The Chicago Department of Cultural Affairs, The Society for Photographic Education, and the Alden B. Dow Creativity Center. Her work and writing has been featured in numerous print and web-based journals including Oxford American, One One Thousand, Fraction Magazine, and Fototazo. Roe recently engaged in a long-form interview with Lauren Henkin as part of Tilted Arc's Women in the Landscape series. As well, a collaborative essay with Leigh-Ann Pahapill and Lisa Zaher on Roe's Goldfields project was published in the Routledge print journal, Photographies, in 2013.

Roe received a BFA from Marylhurst University and an MFA from Illinois State University. She divides her time between Asheville, North Carolina and Winter Park, Florida where she serves as Associate Professor of Art at Rollins College. In 2013 she founded the public art project Window (re/production | re/presentation) and serves as the curator.

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Director Statement

I use the camera as a tool that isolates experience from representation, its image unable to hold more than a semblance, or a glimmer. In recording my response throughout the home, studio and landscape, these residual fragments are all that remain. My process combines a documentary approach with direct intervention and simple fabrication. Constructed scenarios are presented alongside seemingly ordinary views, calling the authenticity of both into question. Isolated instants join together, transformed into discrete events that are both particular and transitory, with each slivered frame adding to the collective image of what once was, and what no longer is. Stressing the fragmentary nature of perceptual response, sequential and composite photographic images are situated against digital video streams that depict similar or identical subject matter as imperfectly contiguous. This structure purposefully unravels the act of presentation, emphasizing the common yet incongruous nature of these media - and by extension, our struggle to orient ourselves within a social and environmental space that is rapidly transforming.

Unable to seize either instance or moment, I contrast the presumed stability of stands of trees; ground and sky; plastered walls, polished floors and tabletops with the subtle yet incessant fluctuation of atmospheric and material environment – clouds and mist surrounding rolling hills and mountain peaks; suspended twigs, weeds and leaves; undulating folds of fabric, screen or foil; sunlit collections of dust, dew and debris. At once banal and metaphoric, these elements share a type of impermanence, briefly capable of producing a unique situation within the space of their reflection. This earthly presence is distinct from the seemingly stable, reproducible image - one that persists, suggesting that all matter is sound enough to endure the world's relentless shifts, however benign or catastrophic.