Jesse James Sinclair
Deployment: The Plight of Ought
Photographs I made for Daniel Feinberg's Master of Fine Arts project, Deployment: The Plight of Ought
Daniels's statement below:
Deployment: The Plight of Ought, my Master of Fine Arts project, is a sculptural film project composed of multiple performances intended to encourage the viewer to consider our understanding of knowledge and unpredictability.
In the film, I position two forces against one another, both appearing to be heavily motivated by two separate impulses. One drive is intrinsic, existing as the self-motivation of me performing in the piece, while the other is external, represented by the other performer’s entry into a modified 1986 Pontiac Fiero. However, the applications of these motivations are presented in a way that challenges whether there actually is a difference between the two.
Following a series of events that establish the professed motivations of the two personas, an inevitable clash between the two takes place. This interaction exists as a climactic performance on an airport runway where I continuously collide with the front bumper of the Pontiac Fiero, running from forty yards away into it, while the automobile is driving stationary on an elevated roller system designed and constructed specifically for this event. The interaction continues until a customized airbag-system deploys in the face of the driver, marking the conclusion of the performance.
Deployment: The Plight of Ought
Photographs I made for Daniel Feinberg's Master of Fine Arts project, Deployment: The Plight of Ought
Daniels's statement below:
Deployment: The Plight of Ought, my Master of Fine Arts project, is a sculptural film project composed of multiple performances intended to encourage the viewer to consider our understanding of knowledge and unpredictability.
In the film, I position two forces against one another, both appearing to be heavily motivated by two separate impulses. One drive is intrinsic, existing as the self-motivation of me performing in the piece, while the other is external, represented by the other performer’s entry into a modified 1986 Pontiac Fiero. However, the applications of these motivations are presented in a way that challenges whether there actually is a difference between the two.
Following a series of events that establish the professed motivations of the two personas, an inevitable clash between the two takes place. This interaction exists as a climactic performance on an airport runway where I continuously collide with the front bumper of the Pontiac Fiero, running from forty yards away into it, while the automobile is driving stationary on an elevated roller system designed and constructed specifically for this event. The interaction continues until a customized airbag-system deploys in the face of the driver, marking the conclusion of the performance.