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Shore Line I

Chris Welsby
1977
Colour 16 mm
Six screen installation

Shore Line I

What at first sight appears to be a panoramic view of the beach turns out, on closer examination, to be an illusion created by the projection event.

Each of the six projectors carries a duplicate fifteen foot loop of colour film. Each projector is placed on its side in order to make use of the portrait format. Each projector is placed on its side in order to make use of the portrait format. No attempt is made to synchronise the projectors.

The image is of a beach, with the camera pointing straight out to sea. The horizon is located about halfway up the frame. In the foreground, waves can be seen breaking on the shore. In the sky, a few clouds move from left to right. The projectors are aligned so that the horizon forms a continuous straight line running horizontally through all six screens. What at first sight appears to be a panoramic view of the beach turns out, on closer examination, to be an illusion created by the projection event. Only by close examination of the image is it possible to deduce that one is looking at the repetition of a single space taken at six different instances in time.CW.

In Shore Line 1, for example, a line of noisy 16mm projectors are prominently mounted on white plinths, where, like an opposing army, they face an image of a pristine line of surf breaking on a sandy beach. The prominence of the projectors, the visibility of the film loops strung from the ceiling, the shadows of the viewer cast on the screen, and the noise of the projectors (the only soundtrack), read in connection with the composite image of the beach, together create a model in which technology, human presence, and the representation of nature are physical participants in the production of meaning.
Chris Welsby, 'A systems View of Nature', 2004.

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