UCSD MFA Thesis Exhibition using generative video, one way mirror film, wood, LED lights and TVs.
Ela Boyd’s video installation work explores issues of representation and visual perception in terms of the body, time and space. In her exhibition catalog, Instances Instantiate, she considers the ways in which instances of multiplicity instantiate the actuality of simultaneous modalities of embodied presence. Outlining her research and practice, Boyd looks to constructions of cinematic production, (character, set, context and linear succession) as an analogy for our experience of perceiving, apprehending and simulating a continuous reality. Whereas the formal aspects of film/video media, such as frames, pixels, editing/remixing and spatial presence substantiate properties inherent to space-time outside of our perception of it. Boyd rejects canonical film theories of semiotics and psycho-analysis and utilizes Gilles Deleuze’s philosophy of film and Henri Bergson’s philosophy of time to evince her own ontological theory of actuality and multiplicity. Boyd develops this theoretical trajectory to posit multiple selves as proliferating and ‘time-traveling’ via mediated spaces, conscious apprehension and projection. Her categories of presence include the metaphysical/ephemeral body, the cinematic/iconic body and the fantasy body (imagined or dream self). Boyd uses the body-in-space to address what is considered to be actual/viable embodiment, new forms of inter-subjectivity and to generate a sense of a de-centralized presence. Through film theory and her installation strategies, Boyd unfolds three temporal scenarios; multiplicity, parallel and potential. Lastly, her research and practice expand upon and offer an experience of the ontological implications of flattened, extended and multi-dimensional/ conceptual space. To this end, Boyd is able to advance her theory of the image as an actual instance of embodied presence instantiated in the moment of conscious perception.