| Text by Elinore Darzi, cinematheque Tel Aviv 2016 |
In " Cinema Blue " (one channel video loop,10:38, 2016), Carmi has created site specific video work, (hall no’ 3 Cinematheque tel aviv), not only physically, but in terms of content, when the work composed photographic stills of the hall as part of a trilogy of video works that are created from still images (preceded by the work "The Blue Server Farm", 2015 and "In Darkness” which in progress). Carmi shot the hall and with a unique technique she creates an image that show only the pixels that can’t be seen in the original photograph; What is being shown is not the movie screen, the chairs or walls, but the invisible details and shadows in the site. The blue dots that appear to the viewer are actually pixels which the photographer suppose to repair during image processing in Photoshop.
For her, these allow the creation of an extension for the normal visual field of the viewer, and thus the ability to look at the image in a different way, in a greater extent.
It is interesting to note that only a computer can actually ‘see' the invisible points, and it makes it possible to expand the possibilities of vision. In that way Dror brings the viewer back to the original space before the amendment of the photograph so the viewer can become present of what was there. Dror calls this unknown information the “dark matter” of photography and cinema, suggesting of the dark energy that's composed by most of the mass of the universe.
To The two-dimensional images Dror then enters the inner camera movement using After Effects software, witch add another dimension to the work. In fact, we are cruising within two spaces: First the Cinematheque hall that was captured by dror, and second is the image of outer space with blue dots that creates the image.
These blue dots slowly change their appearance and become stars in space for one moment, tombs a moment after, and at the end and beginning - chairs, stairs and walls.
Thus, the work deals with questions on how cinema creates space and reality. the inner camera movement detach the viewer from the firm ground of concepts and go through experiential space that does not describe a situation or an absolute image, but beyond it.
To this photographic spectacle Dror has added a soundtrack from the film Blue Velvet (1986, David Lynch). In the video work we hear scenes and events from the movie itself, as well as silences. This effect creates an extra dimension of a sound depth with the open narrative, meaning is blurred and drama emerges, based on audio-visual experience not countering on a sharp image but evoking the imagination and curiosity of the viewer. Thus the viewer becomes active, and in a voyage in the new space extraordinary performances are revealed to him one by one, even those remain a mystery.
the parallel ending and opening of the film, as an opening and closing of a one blue dot, foster the genesis of the process as a flat screen and image. Layers are gradually revealed, the movement and life that Dror gave them with the camera invites the viewer and suggests to take the same action and sail inside images, although they look flat and static, with comment on the subject which is continually in front of a screen.
This work, by means of the photography medium, allows deviation from the visual superficiality, which belongs to the flood of images the viewer floats in every day, in public space, art and film, towards the fantastic and the unfamiliar that is not captured as an object.
when leaving the screening hall, the viewer can not bind what’s been seen as a narrative story or a list of images, but in an attempt to describe the experience, memories or dreams.