Juliette Blightman b. 1980
Fruit and Jug on a Table 1890 – 4 (2009)
Blightman’s short films and subsequent works often show an artwork in surroundings, whether a framed print on a living room wall, or a painting by Cézanne hanging in a museum. Blightman’s work concerns itself with the relation of art (the work itself and the making of it) to the rest of life, her own and others’. As such, the panning shot that appears in her early films, or the deliberate opening up of a work’s parameters to take in more of life, is emblematic: it transposes the relation of centre to periphery, or subject to surroundings, and shifts the emphasis to all the things going on around the edges that you don’t usually look at: car parks, bus stops, radiators. The panning shot is both a formal, compositional device, and a statement of intent.
-- Kirsty Bell
RELATED RESOURCES:
"Ten Women Who Use Film" curated by Jennifer Higgie
-- Kirsty Bell
RELATED RESOURCES:
"Ten Women Who Use Film" curated by Jennifer Higgie