Water & Man (2022)

The filmic approach returns to Katrina’s fascination with screendance montage; by re-presenting clips from earlier in the timeline, the ‘cut-and-paste’ process provides identical data, whilst the reading of the work progresses, evolving through layers of recognition and (re)contextualisation. Similarly, the accumulation of images alters temporal and spatial perceptions, propelling the viewer towards the future of the work. These shifts resonate, leading to moments of stillness, of “stopped time,” inviting further interpretations beyond the viewing’s end. The soundtrack underpins and at times counterpoints the visual rhythms, and uses a track by Philip Jeck, whose sonic work also features in Pace (1995) and There is a Place (2010).