Experiencing Interruptions?

APEXING & OASIS

This is an experimental video diptych by contemporary Australian artist Bianca Tainsh.

The first chapter of this diptych APEXING, is a construction of news media, sourced through a process of searching the daily headlines from 1st Jan 2020 through to the end of March. An evocative image and a word were selected as signifiers of events that defined each day, particularly as a marker within major sagas of the time. Revealed through this process was the language and imagery that infiltrated our collective identity through the universal drama that was 2020. As the video bombards its audience with pictures and words of trauma, it makes for a challenging watch, even within its fleeting one-minute timespan.

The second chapter of this diptych OASIS, is a montage of images from Instagram posts sourced through searches like #covidreflections. Selected for their optimistic air they capture the short-lived phenomena of mass self-realisation brought on by a sudden profusion of free time in early Covid-19 lockdowns. Their depiction of playful freedom makes for a stark contrast to APEXING. As APEXING depicts the unfolding dilemmas of 2020, OASIS depicts the escapism that only the internet could offer during self-isolation and the grim reality of global events.

By Bianca Tainsh. Music by Eco Futurism Corporation. Created with the support of Boxcopy, Brisbane.

  • Bianca Tainsh
    Director
  • Project Type:
    Experimental, Short, Web / New Media
  • Runtime:
    2 minutes 15 seconds
  • Completion Date:
    July 7, 2020
  • Country of Origin:
    Australia
  • Language:
    English
  • Aspect Ratio:
    1:1
  • Film Color:
    Color
  • First-time Filmmaker:
    No
  • Student Project:
    No
Director Biography - Bianca Tainsh

Bianca Tainsh is an award winning cross-disciplinary artist from Australia. Utilising a variety of media and contemporary methods, Tainsh’s practice is embedded in heterogeneous research and existential exploration. Archives of self-generated and cyber-sourced material, saturated with semiotic rhetoric become the provenance for video, digital media, assemblages, and live art, engendering a reflection on contemporary dilemmas. Through theoretical frameworks and narrative, audiences are invited to engage deeply with issues such as climate change, mass consumerism, and the search for autonomy and spirituality in the digital age. And, as an escape from social expectations and consumerist shaping, a reconnection with nature and humanity is often facilitated through ritual and visualisation.

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