In my search I found a video interview of Christina Mcphee discussing her piece Shed which was presented in Art Cologne. In the interview, Mcphee goes into detail about the essence of her video project. The project is given the title Shed which is in reference to the drawing shed that she was working on large scale illustrations. The project was a series of self recorded videos over the span of eighteen months, where Mcphee would record herself working on these large scale drawings. She describes the project as not a record of the process, but to what she refers to as an expanded cinema project. I found it interesting when Mcphee stated that the video framing process and editing as a type of drawing itself, She describes it as the video drawing the drawing of the shedding in the shed. She states that drawings are a series themselves from another project called Teorema named after the Pasolini film of the same name. She relates the drawings to the film in that in the film there is an angel that each member of a family has a different interaction. The drawings are supposed to be subjective presence where they are presenting themselves to the observer. The idea for this came to Mcphee when individuals would come to her shed and speak on what they saw. This sense of abstract image draws out emotions and experiences specific to that viewer. I really liked the way she mentioned this psychic shedding from herself is not really personal, but is available for them to interpret. She mentions one individual who walked in the shed and described it as a “clever way to say no.” While that was not her intention, she was happy that someone had a connection with her work that evoked a certain emotion.
The first article I read was an interview by BOMBmagazine. In the interview the subject is an exhibition in San Francisco called Tesserae of Venus. From the interview and brief synopsis of the theme of the exhibition, it is a collection that focuses on a specific impending environmental crisis that will occur referenced as the carbon storm. This event will occur when the atmospheric carbon concentration exceeds humanity’s ability to control carbon levels produced. In the interview she discusses this concept of kairotic or “bastard spaces”. Mcphee stated that she shoots video of high-tech energy installations. These installations however are often under surveillance so she has to shoot at obscure times, such as dusk or dawn. She uses this video as a template or “drawing” as she states these places have their own rhythmic qualities. By using stills of the layered video she draws primarily with ink and creates these futuristic landscapes that she states will spring about as humans try to cope with the incoming carbon storm.
Another article on the internet I found was an interview with Christina Mcphee with C Theory. In the discussion the concept of slipstream is brought up. Mcphee describes the term as a metonym, having meanings that vary from different degrees to suction, whether that be with the natural physics based definition to the more modern programming definition. She describes the artist as an architect of sorts but the voice is lost to the rush of air. I found this interesting because of the similarity I feel it has to her thought process on the piece she discusses in the video interview. The artist’s voice or emotion is not the focus of the project and is instead a part of this flux, which is a near infinite space of different emotions and experiences. There is an opportunity to find different emotions evoked by the piece for each individual observer.