Fiumano Clase, London

Unit 12, 21 Wren Street, London WC1X 0HF, U.K.

info@remove.me @fiumanoclase.com

www.fiumanoclase.com

 

 

My practice explores the changing nature of cinematic materiality with a particular focus on merging the dynamic forms of cinema with the traditions of painting and sculpture. There are many differences between experiencing a painting or sculpture in comparison to the experience of cinema, most noticeably in their relationship to time. With cinema you are inevitably subject to its technical way of laying out time (with its roots in modernity), while with painting and sculpture, you bring your own time to the experience.

Initially my interest in the materialisation of cinema was prompted by its inverse — the dematerialisation of cinema, both in terms of how the medium has been delivered to us and in the ways it is now produced. This dematerialisation is an on-going process — just as reels of 35mm film were once replaced with video tape and then DVDs, so in turn, these silver discs are being replaced by raw digital data - set within an ever expanding constellation of images. In the process of exploring this cinematic dematerialisation, I have been examining the impact of removing the temporal qualities of cinema by building special custom-made Aggregating Cameras designed specifically for this process.

These cameras broadly work from the principle of a strip of film being translated past a narrow aperture inside the camera. The time taken to move a strip of film is generally about ten minutes, producing a visual trace that documents the motion outside the camera. Formally speaking, the horizontal axis of the cinematic material is replaced with a trace that displays motion through time, while the vertical axis is retained. In this work I have made an assumption that the image of time is represented as the horizontal dimension or (x) axis.It is important that the indexical relationship between the originating material and the timelapsed photographic image is retained. The resulting images made using these cameras bear a trace of the way that the cinematic image changes through time - we can see in an instant the overall visual structure of a film. I think of these images as Simultaneous Cinema.

Sam Burford, 2018

Sam Burford, CK-Denoue, 2019, C-Type Print face mounted on Perspex, 183 x 49.5 cm. (72 1/8 x 19 1/2 in.), 2/7+AP.
Sam Burford, Double Alu, 2019, Aluminium, 42 x 120 cm. (16 1/2 x 47 1/4 in.)
Sam Burford, Superman Reversing Time, 2019, C-Type Print face mounted on Perspex, 57 x 140 cm. (22 1/2 x 55 1/8 in.) ED 3/7
Sam Burford, Wrath of Khan, 2014, C-Type Print face mounted on Perspex, 40 x 183 cm. (15 3/4 x 72 1/8 in.), ED 1/11+AP
Sam Burford, Return to Tyrell, 2009, C-Type Print face mounted on Perspex, 100 x 57 cm. (39 3/8 x 22 1/2 in.) ED 4/7+AP
Sam Burford, Doppleturn, 2019, Mixed media, 33 x 24.5 cm. (13 x 9 5//8 in.). ED 1/3+AP
Sam Burford, Landscape One, 2019, Mixed media, 61 x 56 cm. (24 1/8 x 22 1/8 in.)
Sam Burford, Palms, 2013, C-Type Print face mounted on Perspex, 112 x 78 cm. (44 1/8 x 30 3/4 in.) ED 1/7+AP
Sam Burford, Tie Fighter, 2014, Steel and aluminium, variable dimensions. ED 1/5+AP
Sam Burford, The Wizard of Oz - a portrait of a film, 2017, C-Type Print, Diasec, 151 x 102 cm. (59 1/2 x 40 1/8 in.). ED 7+AP
Sam Burford, CK Slats, 2019, C-Type Print face mounted on Perspex, Aluminium, steel, 48 x 152 cm. (18 7/8 x 59 7/8 in.). ED 1/11+AP
Sam Burford, CK Slats, 2019, C-Type Print face mounted on Perspex, Aluminium, steel, 48 x 152 cm. (18 7/8 x 59 7/8 in.). ED 1/11+AP