Haris Epaminonda

Zebra, 2006
Digital video, colour, sound, duration: 2 min 29 secs

Most of Epaminonda’s video works are based on re-shot excerpts of film and television footage – principally the Greek soap operas and kitsch romantic films from the 1960s that used to fill up Sunday afternoons in the artist’s Cypriot childhood – which she then subtly reworks. The scenes that she chooses to work with are not instantly recognizable from the original narrative, so the culled images are effectively stripped of their initial meaning and context. These out-takes are then edited and adapted in a variety of ways: the film’s speed and direction are changed, sections are distorted, its colour is intensified, or a poignant soundtrack, such as a piano composition by Alexander Scriabin, is added. Most significantly, she also superimposes footage to make surreal composites: an indoor scene, say, might also have traces of fireworks glimmering through it. While these are all common manipulation techniques of digital video, Epaminonda uses them with captivating sensibility.




Text by Dominic Eichler, excerpt from ‘Lyrical apparitions that commune with the past’, pg. 150-151, Frieze magazine, November – December 2007