UK / Duration 4m 2s / 2012
“Windows are a way of working on a computer that makes it possible for the machine to place you in several contexts at the same time. As a user, you are attentive to only one of the windows on the screen at any given moment, but in a certain sense, you are a presence in all of them at all times.”
Sherry Turkle – Multiple subjectivity and virtual community at the end of the Freudian Century, 1997
Darren Banks incorporates found and made film footage into sculpture and installation to explore ideas about domesticity, defunct technologies, cinema and the unknown. The work questions the perception of sculpture in relation to objects, film and memory. Banks is interested in the possibility of film as sculpture. Within his practice sculpture is not just confined to three dimensions, but can exist on and within different platforms and plateaus. As a horror film fanatic he is intrigued by the aesthetic and structural devices used within the genre. Banks’ reworks the formal vocabularies of horror by isolating its tropes, use of montage and architecture.Banks’ uses film by embedding it into sculptural assemblages. He believes in the neutrality between different objects, media and materials. For example, he uses film/video/internet in the same way as a piece of string or an ironing board. Accepting that film/video exists on the same plane as direct experience gives it equal footing in the world. Being open to this neutrality between objects, materials and media enables the work to escape the confines of the physical; creating new spaces within the work, where gravity is optional and objects and characters can take on new meaning through the processes of deconstruction and reconfiguring.