( video HD, 16:9, 5’55’’, 2016 )
The video work 'l : h = n' is the record of the integration of the elements of
reality into the grid and figure drawn up in the 16:9 format as a
result of the calculations of the space-time rhythm. The work was
inspired by the theory of K.Kobro and Wł. Strzemiński, stating that a variety of shapes
and dimensions on a plane does not weaken the uniformity of the
rhythm, as all contrasts resulting in an image result from the
determination of all shapes in a format by the numerical ratio n.
'l : h = n'
is the numerical representation, correlating shapes one with another
and repeating the mutual ratio of the main dimensions of a projective
plane in each subsequent division thereof, combining all shapes in
one shared rhythm, resulting from a format'. In the subsequent shots, the different plants, formed with the
threads so as to fit into the determined grid, are
inscribed within the divisions. The operations force them to stay in
an artificial, unnatural position. In contact with nature, such a way
of building a composition seems oppressive and shape-deforming. The
shapes begin to look like unnaturally formed tree crowns, like those
that can be seen, for instance, in Belgian parks. I decided to use
the plants because they are the opposite of geometrical, sharp
shapes, used by constructivists. Plant compositions can also be
associated with the tradition of floral painting pictures,
representing bunches of flowers, made to beautify the interiors,
feast people's eyes. The house plants I used also perform that
function, being grown to serve that purpose. In my work, they appear
in the unnatural positions: bent or stretched on the threads, they
are trying to fit into the division grid, which, instead of
establishing harmony, deforms and disfigures in this case. They are
small, isolated against a neutral backdrop, seeming to be dominated
by the remaining part of the picture.
In
the last scene of the film, I decided to cut the thread bending the
tip of the dracaena down, thus suddenly restoring the shrub to its
original, natural position, thereby spoiling the whole frame, ruining
the composition of the division, to further reveal that the plant was
made using the ordinary threads, and uncover the artificiality of the
situation.
