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extract (3:35 min) from Parklife, continously tracked photographic image on LCD panel, computer, 80x55 cm, 2009
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The data of a large scale analogue photograph is scanned systematically and continuously by a virtual camera, never allowing us to grasp the image at once in its entirety.

Related to the cinematic device of the tracking shot, which famously showed a couple crossing the Mexican-American border with a bomb planted in the car in Orson Welles Touch of Evil, the work builds on the mechanics of suspense and anticipation - however in this case exploring the pictorial space of the image.

At the same time, Parklife also aims “to look at the overlooked” by employing the clinical “vision” of the virtual camera through which we are forced to apprehend the scene. The scene of a Mediterranean ferry loading quay at night, with people scattered on the dockside asleep, becomes something full of suspense, as we recognize the formulaic strategies of a Hollywood disaster movie.