Debra Fear - The surface breathes c3

2:00, 2014, Experimental
’Motion in planes curtailed by the frame
The surface breathes
Form in duree
The circuit beats are three.’

Filmed in Cascais, Portugal.
DirectorDebra FearEditorDebra Fear

CountryUnited KingdomEdition2014 Green

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Your film is about?
’Motion in planes curtailed by the frame
The surface breathes
Form in duree
The circuit beats are three.’
All my work is now described/labelled under lyrical text.

How did you start with film? And do you have an educational background in art or film?
In my foundation year at Camberwell College of Art, London I went from painting to becoming obsessed with editing and the marriage of moving image to sound.
I now have a BA (Hons) in Fine Art time-based media (Wimbledon College of Art) and a MA in Painting, where my practice was still based in moving image and sound - Royal College of Art, London.

Could you explain how you work, what themes or concepts you use and what is important to you?
It is important to me that the edited duration of my work and the intertwined aural and visual qualities becomes rooted in subjective time e.g. In Bergson"s durée, to the extend that the viewer is so immersed in experience that time, place and self has no meaning.

How long do you usually work on one project?
Varies - I go through very intensive production to research periods of no obvious output. A week then dropping the work to allow space, then later another week or so...

Do you carefully plan the production process or do you work more intuitive?
Intuitively process driven. I rarely traditionally storyboard. Also I work on my own as a general rule.

How does the title relate to the work, and how do you find a fitting title?
The C3 in the title specifically relates to the circuits of versions - so this particular "mix" is on its third circuit.

Where do you get your ideas or inspiration from?
I am an opportunistic with a camera so film footage from observation "in the moment". I get inspiration in the editing process from my research phases.

How important is sound in film, and if you use sounds, do you create your own or use existing?
It is of utmost importance, even its removal is significant. I create my own though I might use stems from software libraries.
I do not want to infringe on copyright, so besides my music videos for e.g Buddhist Army Records, I prefer to create from scratch a soundtrack that I can then remix and combine with others relentlessly until the last drop of creativity is squeeze out of the sound!

How important is the reaction to your film by the audience?
I work for myself but it is important that they watch all way through because then I have succeeded in ensnaring their cognitive functions.

What is your next project about?
Quantum theories

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