TV Moore
Keith Gallasch
TV Moore, The Dead Zone
In a small, darkened sideroom in Sydney's Artspace, 2 large screens face each other. You sit on a padded seat between, turning to take one in and then the other, adjusting to 2 close views of a man running slo-mo through an empty Sydney CBD. Because he’s running backwards and because the speed isn’t modified to the point of mere artifice, and because the man keeps turning his head to see where he’s been/heading, there’s a loping anti-gravitational lyricism to The Dead Zone that adds to the doomsday suggestiveness of empty streets and time undone. Or, as Moore notes, “this barefooted man is certainly terrified but perhaps he is in fact running from himself.” The work was exhibited at the recent showing of Helen Lempriere Travelling Art Scholarship 2003 finalists at Sydney’s Artspace and was Highly Commended by the judges. With relatively simple means, Dead Zone exploits our cinematic awareness to maximum effect, multiplying meanings in a short time and lingering much longer than its 3 minutes 30 seconds duration. We’ll be watching more TV Moore.
RealTime issue #57 Oct-Nov 2003 pg. 39
