Orka expresses motion, a motion that runs counter to the laws of physics and the "frame-bound image". The overriding formal orchestration of image events and their relatedness resembles the composition of a visual symphony. Steina describes the roots of her visual thinking, expressed in paradoxical events and free-floating imagery: "Since my art schooling was in music, I do not think of images as stills, but always in motion. My video images primarily hinge upon an undefined sense of time with no earth gravity. It is like a duty to show what can not be seen except with the eye of media: water flowing uphill or sideways, upside down rolling seas or a weather-beaten drop of a glacier melt." This approach to expanding perceptual expectations also has an immersive dimension: when the single-channel videotape, Orka, is set up in a three-channel video environment, the visual material is shown on translucent screens that are equally intense on both sides. "The idea is that perhaps the audience could feel a part of this creative trance, living for a moment in a mental world where they have never been."
Yvonne Spielmann © 2004 FDL