1998, video, 7 minutes
Off and On documents a double performance: the close-up activity of hands painting and the deadpan long-shot action of a figure entering a space, dressing and leaving the space. Like the painting, which it unspools in reverse, Off and On addresses itself to issues of scale, figure and ground, surface and depth. Through its digital intervention in the two actions, it also investigates the emotional resonance of order, duration and repetition. Coming off or back, putting on or in, through a painted screen, an ambient dressing room: there, a scumbled surface of uncertain scale; a figure at inconstant speed; a typology of chairs; a game for the eye in a frame for the hand.