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tours Recomposing The Universe
Jackie Hatfield
Tamara Krikorian was a contemporary of David Hall, and an influential artist of this period who made a number of key works, Vanitas '77 (single screen) In the Mind's Eye '77, Unassembled Information '77, Time Revealing Truth '83 etc., and it is possible to see stills of her landscape and ambient expanded video artworks, An Ephemeral Art, Breeze, '75 or Disintegrating Forms, '76, or the multiple forms of Vanitas, '77-'80.

Like Hall she was a founding member of LVA, and instigated collaborative shows of artists' work, conferences and art forums. Krikorian's work was complex in its layering of meanings, and lyrical, often exploring the blurred edges between representation and the real; the static and the moving, with An Ephemeral Art the multi-screened installation, real butterfly pupae hatched inside a row of monitors, interspersed with live broadcast TV in monitors with silkscreen portraits of Krikorian overlaid onto them. Vanitas takes different forms, single screen, installation, and tableau, with it Krikorian created a 20th century technology still life with self-portrait and icons, alluding to the tradition of Dutch 17th Century still life paintings. Breeze and Disintegrating Forms were ambient electronic installations, exploring the technological landscapes as well as the recorded images of landscape, in the black space of the gallery. Jayne Parker's Almost Out was also an important electronic artwork of this period, raising difficult questions for some of the debates around critical theory's anti-illusionism. I've always viewed it relative to Parker's other artworks, The Pool '91, K '89 etc and the wider narrative of her process; the abstraction of theatrical narrative, the questioning of the linguistic norms of cinema, of illusion and the rituals of performance for the camera. Both Tamara Krikorian and Jayne Parker have explored the landscapes of the unseeable, Parker through the language of film, Krikorian through video's latent image.

Still from Almost Out by Jayne Parker, 1984
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