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Video Installations: SD projectors, SD DVDs and players,
wood panels, Arches paper origami (no sound),
2010.
[stills] [video]
Digital photography: printed on UV resistant paper,
mounted on aluminium, 2003.
Digital photography: printed on UV resistant paper,
mounted on aluminium, 2000.
Interactive video installation: purpose built room,
SD projector, computer, track ball, headphones,
music: Maxime Morin (DJ Champion),
1997.
Painting installation: mixed techniques, 1996.
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Rejecting the pixel-perfect match between video projection and volumetric screens sought in the popular
video mapping technique, Oli Sorenson’s latest installation creates a willful mismatch, throwing light
and surface into a tense dialogue. Sharp rays bleed over the edges of a three dimensional geometric
composition, creating a mesmerising perceptual experience.
The reduction of visual elements to the graphical motive of the stripe, a favoured device of abstract
minimalists and op artists alike, is an abrupt contrast to the theatrics of much video mapping, and
serves to integrate the graphical surfaces and three dimensional forms of the installation. The use
of video mapping references the extension of video onto the built environment, as moving image increasingly
pervades urban public space
The strong formal composition of Anti-Mapping reflects Sorenson’s renewed engagement with objects, as he
challenges the traditionally biased relationship between projection and screen. This focus on the forms
that underpin the projection is not without a nod to Daniel Buren’s Supports-Surface collective. The
objects resist their role as passive receptacles, and engage in an active dialogue with the projected image. [stills] [video]
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