FOR
IMMEDIATE RELEASE
LOS ANGELES, CA.
The Paul Kopeikin Gallery is
proud to present the inaugural exhibition
of the Opus Projects, a
new special projects program of video and
film installations which is curated by Kaycee
Olsen of the Paul Kopeikin Gallery.
This inaugural exhibition featuresthe
video and sound installation Anna
Moore, by Julie
Orser, marking her first
Los Angeles solo exhibition.
The Opus Projects will be on
view at the Domestic project space located
adjacent to the Paul Kopeikin Gallery. This
will be in conjunction with the extended
exhibition of Jody Zellen’s new
series of works on paper
and video installation titled Of
a Lost Utopia, on
view at the main gallery space of the Paul
Kopeikin Gallery.
These exhibitions open Saturday,
June 30 and runs through July 28, 2007. A
reception with the artists will take place
on Saturday, June 30, 2007 from
6:00 to 8:00 PM. The reception
is free and open to the public. The
gallery is located at 6150 Wilshire Boulevard,
just west of Fairfax. For information
call (323) 937-0765.
In the video and sound installation,
Anna is fractured across three video projections
and one audio track engaging the viewer in
the formation of character and her positions
within a narrative. In one video projection
Anna repeats everyday actions in an endless
loop as the video frame slips back in time
revealing glimpses of a mysterious and altering
event. Another video portrays Anna in an
unexplained cycle of fury and distress. At
the same time a third video expresses Anna’s
sexual desire in a slow colorful fantasy.
Throughout the installation Anna’s
disembodied voice addresses the viewer while
recalling events past. The subjectivity of
Anna Moore’s character is created through
the combination of these components and the
viewer’s cinematic imagination and
history.
Anna Moore considers
the subjectivity of Anna Moore as a character
depicted within the post-war era genres of
psychological melodrama and film noir. These
films ranging from the mid-1940s to the mid-1950s
illustrated female characters in very distinct,
yet contradictory, ways that echoed the larger
issues and fears concerned with the roles
of women in the post-war society. The characters
within these films were frequently portrayed
as compliant, sexually repressed, hysterical,
or as independent, aggressive femme fatales,
often within the same film. Anna Moore combines
the film genre framework with structuralist
investigations of cinematic codes, mise-en-scene,
character, and narrative. The work explores
how historic aspects of setting, camera movement,
framing, costumes, props, lighting, gesture,
music, and the voice-over influence our assumptions
about character and story. |
