Half Sleep (1984)

Děj

Nan Hoover subtly orchestrates light and movement in real time to suggest enigmatic sculptural landscapes. At times using her own body as landscape, she creates an evocative tension between abstraction, reality and illusion. Using a macro lens and slow motion to examine the detailed surface image of her face, Hoover allows a dramatic typography of texture and light to emerge in ‘Half Sleep’. She states that this work suggests 'timeless moments when we are between two worlds, when our perceptions are heightened, sounds take on other dimensions and we become almost microscopic within ourselves.'