Who’s There [evolutionary process] was created as an extension of the previously discussed work Who’s There [repetitive process]. Where the latter work focussed on a physical and cultural inhibition, this work can be described as a visual research into the individual, psychological dimension of restraint. The title of the work is a question that has to do with the desire of the presence of ‘the other’ to be able to cope with a fundamental sense of loneliness and psychological restraint that we are perhaps all familiar with.
Growing up in Costa da Caparica, a small coastal village next to Lisbon across the river Tagus, the artist was fascinated by the narrow gauge railway train that transported both locals and tourists to and from the many beaches along the coastline. In the early nineties, the line was cancelled, but the railway track itself remained. The artist, barefooted and wearing a white dress, walked along the entire track and made a photograph of every step she took with the camera facing down. From these images a selection of 80 slides was made and projected in a loop on a wall at a low level, with the dress lying on the ground in front of it. The sound of the slide projector is reminiscent of the sound that a moving train produces. To the viewer, unaware that it is a narrow gauge track, the scale of the human body in comparison to the train track causes a strangely alienating effect. A feeling that is reinforced by not knowing what the first or last slide is, where the walk is going, if there is an end and whether the person in the images will ever be able to get out of this loop. There is an evolution visible in the work, but it is unclear if it leads to anything better.
Selection from 80 slides