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Sarah Pucill
With this pictorial scene and highly formal setting, Pucill's first two films create certain expectations in the viewer, suggesting that meaning is created through adjustments in framing and composition.

It is already startling to find the second film's combination of projected, still and moving images - Milk and Glass (1993) - displaying an 'evisceration' (an emptying out of material or matter) rather than the first film's careful construction of a threshold between subject and object viewed. In Milk and Glass, an overt metaphor for the painterly and photographic revelation of identity - the eye and lips emerging on the emulsion or material surface - gives way to a shocking and visceral evocation of the 'interior' of the body on a physical level. The body's presence emerges from behind the representational surface of the image. This process of disruption is echoed, in different ways, in her later films, and is key to the deeper mechanisms in her work.

At the same time, it is the vividness and precision of the images and their creation of an individual, and unsettling, psychic world, that leaves a lasting impression in Pucill's work. A consistent visual language, a vocabulary of distinctly seen objects and closely framed spaces, marks her films: images which stay in the imagination suggesting some articulate but unexplained meaning. Within this language Pucill defines certain key connections between the films: "There are ... things that look similar ... things I have worked with: the macro lens, the interior, ... photomontage, the image being important."

In observing the extreme formality and the surreal disruptions of Pucill's film sequence, it becomes apparent that this concern with the image is central to her work. Throughout, she uses the language of film to explore and to question the status of the visual image; and it is the formality of these first films, and their quality of stillness, that lays the foundation for her work's unsettling impact.

Still from Milk and Glass by Sarah Pucill, 1993
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