Winspit (2016) explores the physical terrain of an old quarry in Dorset, a site regularly used as a background for feature films. An iPad mounted on a motorised track spans the length of the quarry floor recording the detail of the terrain, scanning the site, like a forensic instrument. The iPad slightly magnifies the actual site underneath; this in turn creates a physical effect for the viewer, as the screen appears to ‘open up’ the ground below.
Whoever walks into the mouth of the quarry in darkness becomes an audience in the work. The noise of the motorised rig and the illuminated screen guides the viewer deep into the site. The audience experiences an activation of site, a curious interaction/dialogue between technology and nature, a scientific investigation or experiment. Winspit (2016) fundamentally questions the relationship between image and so-called real space, and likewise attempts to present moving image in dialogue with natural form.
In Atlas of Emotion: Journeys in art, Architecture and Film (Verso, 2002), Bruno discusses ‘this shift away from the long standing focus of film theory on sight, towards the construction of a moving theory of site’. This movement from optic to haptic reflects films’ position within the spatial arts, sitting more comfortably next to architecture and theatre than many of the visual arts. Traditional theories of the ‘filmic gaze’ fail to address the effect of spatiality, the act of crossing or inhabiting space are not explored or explained.