1. Artist Hamza used a first person, handheld camera technique to evoke realism and spontaneity. I see you using a documentarystyle technique. Why and how does that function in your work?
Hamza: It creates an interest in the subject, the viewer gets captured in the mystery and they grow desire to watch the rest of the video to see what happens in the end.
2. We are all making work in the context of a long and varied history of video art and media culture. I see a connection between your work and Nauman’s Revolving Upside Down where he rotates the camera so that the floor is on top of the screen. In your video , you rotated the camera so people could read with you what is written on the library books. Why did you rotate the camera instead of forcing the audience to trust you, the narrator, that you are reading them correctly?
Hamza:
I wanted the audience to be able to read the context, the visual is meant to be understood and straight to the point. Having the camera rotate also added more book titles to be read at once.
3.
In one of our readings, Krauss argues that medium of the video is narcissistic. It’s about the subject being the object itself. Although, the main subject of your video is the ‘Major Key’, it feels like the video is about you. How do you(or not) differentiate yourself from early artists who Krauss’ considered narcissists? And what inspired you to make this video?
I represent the major key, not everybody is in possession of the knowledge that I am talking about therefore it is somewhat narcissistic but at the same time the message is for the overall people.