WORMHOLE LABRIPERIPATETIC BALLAD OF A NOMAD IN LONDON
Poetic and philosophical Vision of a pedestrian based journey in time and space, in real, remembered and imaginary spaces of a nomad in London. The title refers to the ontological question of presence in a world now based on a kind of absenteeism, i.e., where the mind becomes divided from the personal, absorbed by virtual collectivism intrinsic to the mega-urban context, in this case London.
Although there is no actual cinematic narrative, a progression does exist in the unravelling of the visuals . it is based on two main perspectives. One, the personal journey in time and space of the maker, concentrating the focus therefore mainly on areas of London encountered in his life and containing the remnant of abstracted memories directly linked to the idea of the Mnemonic City insofar as it is translating a deep emotion attached to these places.
Two, a perspective relating to archetypal complexes residing in those memories and containing universal mythology, the elements of which are played out throughout the animation by way of various alterations and transformations but also through specific symbols such as ‘the tower’, ‘the moon’, the shadow’, ‘the hand’,’the throne’, or the elements such as water and fire.
“Wormhole” points to the possibility of entering a parallel dimension while remaining lucid of what the maker considers his own’ land’.“Labri” is the root of labyrinth, a reference to the underlying esoteric structure of the city. “Peripatetic” refers to the act of wandering by foot, linked to the idea of the flâneur who, by exploring the context directly travels inwards, analysing and re-evaluating his own internal constructs. “Ballad” refers to the nature of loss and poetry constituting two foundational aspects of the piece. “London” is the name of the location in question, known to the maker since his childhood and as equally important to him as his native city. He is the “Nomad” , for despite having lived in this metropolis for over twenty years, no feeling of belonging has ever truly developed. Instead, the maker has gained a kind of philosophical detached discernment out of an impersonal environment he had once hoped long ago to make his home.
The work is divided into interlocking scenes suggesting a psychological progression, perhaps equivalent to the passing images in the mind of a sleep walker as they migrate from one room to another inside a large mansion. I would describe it as a vision rather than a story, the kind we see conjured up in Dante’ s Divine Comedy or Goethe’s Faust or even, ‘Heaven forbid’, pun almost intended, The Apocalypse by John the evangelist.
One could dare affirm there is a beauty in the destruction of beauty since the emotions stirred
are summoned from the expanse ‘de profundis’, of the psyche. One could also dare affirm the increasing level of hideousness of London is so extreme it has become ‘awesome’. a monstrous edifice challenging the borders of paradise with ever higher peaks, each more violent than the one preceding it, but more so, it is down below at street level, in the shadow of these blank feats of engineering that real ugliness lingers, banal and monotonous, enveloping the crowd within a suffocating smog of relentless repetition. This cine-animation brings these facets of the city into view while retaining a poetic filter, not to embellish but to do justice to the complexity and depth of the situation in which humanity finds itself at this juncture of post history.
Produced for the new Mnemonic City in London 2015
Swan Wharf, Fish labs in Hackney Wick
and The Barbican