“Phenomenology” is an experimental series of work that demonstrates, with only minor exaggeration, the lot of women in a culture that strips them bare by covering them up. A young woman’s undressing plays in reverse, yet the clothing she “puts on” is not only hers but that of any woman who, like her, has realized or is recognizing that society sees her less as a person than as a locus of control.
Filmmakers have applied reverse motion toward a willful destructive misrecognition of time, using it to imagine rewinding unpleasant history away.
Reverse motion can deform the actions of normal individuals into foolish and laughable trajectories. In 1896, early cinema technology made it possible for the first time to view a simulation of entropy’s reversal – that is, to watch time run backwards.
The reverse motion has the capacity to deepen our understanding of history by laying bare the forces of its production and uncovering absences produced by forwarding time.
Reverse motion is funny, but in my context is a dark comedy of silencing and a friendly reminder of an early dementia.