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David Sant - The shard

3:18, 2011, Video Art
 
Western Europe’s tallest building [[The Shard]] is the reoccurring image that appears throughout this [[experimental film]]. The footage was shot during Easter 2011. The Shard had not yet become the crystalline beacon of the “London Bridge Quarter” it is proclaimed to be. This exposed carcass hemmed in by the wide expanse of council housing that fills the London Borough of [[Southwark]] was redefining the [[London]] skyline for the people who live south of it. The construction of the Shard is a timeless reminder of how the power of some will always make their presence felt when and where they choose.
DirectorDavid Anthony SantProducerDavid Anthony SantCameraDavid Anthony SantEditorDavid Anthony SantComposerNoise Research
 

CountryUnited KingdomEdition2012 BudgetNo budgetScreenings2011. ’Exploding Cinema’: Stoke Newington: London. Dec 9.

2012. Propaganda Window’: Federation Square’s Big Screen and Atrium: Melbourne. March 1-31.

2012. ‘Festival Images Contre Nature’ (12th edition): Théâtre des Chartreux: Marseille: France. July 11 and 13.

2012. The Walthamstow International Film Festival’ (3rd edition): London. September 7-16.

2012. ‘The 10th Edition of flEXiff 2002-2022’: The Newington Armory: Sydney Olympic Park. September 21-23.
 

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Interview

 
Who is David Anthony Sant?
Born in 1968, Sydney, Australia. Since 1984 I have incessantly created art works during periods of study and teaching, and have had a significant number of exhibitions of my work. The solo exhibitions I have had, the group shows I have participated in, and the screening of my films, have taken place in galleries, theatres, arts centres, exhibition centres and festivals around the world.


What is ‘The Shard’ about?
Western Europe’s tallest building The Shard is the reoccurring image that appears throughout this experimental film. The footage was shot during Easter 2011. The Shard had not yet become the crystalline beacon of the “London Bridge Quarter” it is proclaimed to be. This exposed carcass hemmed in by the wide expanse of council housing that fills the London Borough of Southwark was redefining the London skyline for the people who live south of it. The construction of the Shard is a timeless reminder of how the power of some will always make their presence felt when and where they choose.


How did you start with film? And do you have an educational background in art or film?
In 2001 I chose to work entirely in moving imagery. After many years of creating two-dimensional imagery the rapid advances in affordable digital technology allowed me to experiment with the creation of moving imagery. The twenty-eight videos I have directed and produced combine experimental visuals with experimental sound. I have a Bachelors Degree in Art Education and have nineteen years of experience teaching Fine Art and Graphic Design in Secondary Schools both in Australia and in the U.K.


Could you explain how you work, what themes or concepts you use and what is important to you?
A subject that re-occurs in many of my films is the experience of location and space. These films are often films about space and spaciousness as experienced within urban environments. Every film I create is an attempt to innovatively explore the visual language of the moving image. My approach to film making can best be described as Extemporaneous Film Making.


How long do you usually work on one project?
When filming a new project I consciously capture more than enough digital footage. I feel it makes sense to do this because filming digitally allows you to do this. Consequently, most films I create require extensive amounts of editing. On average, I will create between three to four films per year.


Do you carefully plan the production process or do you work more intuitive?
I try to always include an element of chance in my films. I try to ensure that this element is a part of the filming and/or editing process that I have little or no control over. Because I aspire to be an intuitive film maker I am self conscious about my production processes, particularly when they are becoming carefully planned and repetitive. At these moments I need to re-assess what I am doing and what the outcome is likely to be.


How does the title relate to the work, and how do you find a fitting title?
The ’The Shard’ was an obvious choice of title because the building is the re-occuring image in the film. I kept the title specific because it is already hugely identifiable.


Where do you get your ideas or inspiration from?
My interest in researching the way other artists’ use moving imagery and an ability to recall that research is my greatest influence.


How important is sound in film, and if you use sounds, do you create your own or use existing?
Sound is an element in all of the films I create. I appreciate the extra dimension it adds to the visuals. In some of my films the sound accompanies the visuals and sometimes the visuals accompany the sound. I tend to ask other artists who understand and create original experimental sound or music compositions to create the sound for my films. When I request their collaboration I let go of the project and allow the visuals to be steered in whatever direction the sound artist feels it should be taken


How does content relate to the form of your work?
The form of each film I create always takes into account the content of the film. I try to use form together with the content of the film to reinforce the concept of the film.


What possibilities of the web are yet to be explored?
The web is constantly evolving and adapting. I am yet to find truly inventive collaborative work between artists who use the web. I have concerns about the web being used to exploit the work of artists. Festivals and screenings of films created by artists nearly always offer nothing more than exposure for the artist. Artists are more than ever before pinning their hopes for success on the dream of being noticed and financed through the increase in exposure that the web claims to deliver. Advances in file transfer efficiency are making it easier for artists to distribute their films yet the chances of these artists ever making money from the increased distribution remains next to nothing. In many ways the global networking web is undermining the financing of artists and their work. Artists need to choose and distribute carefully.


Did the web changed your view on art, or your career?
The web has facilitated my interest in researching the way other artists’ use moving imagery and has provided me with the ability to store and recall that research when I require it. The web is an essential networking and promotional tool for all artists.


Where would you place your work; cinema or art. And what is the difference between those according to you?
My work is Art because unlike cinema it is not bound by convention.


How influential is the reaction to your film by the audience?
Attempting to articulate the concept behind an experimental film through the visual language of the film, the title and the synopsis, is confirming that the audience and the way it reacts to my film matters.


What is your next project about?
My next project is evolving and changing. As this creative journey continues my understanding of what I am trying to say becomes clearer and hopefully becomes evident in the outcome produced.

 

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