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Barbara Buckner 芭芭拉．巴克納
Barbara Buckner: Selected Works Ⅰ—Millennia 芭芭拉．巴克納：選作（一）──千禧
1981
Barbara Buckner began experimenting with video and computer technologies in the early 1970s. Like Hearts and Heads, the other two works in the compilation Selected Works I, Millennia develops a visual language marked by symbolism and repetition. The group of works directs these techniques towards evoking and exploring what Buckner has described as ‘spiritual undercurrents’.
To create Millennia, Buckner employed computer technology, which allowed images to be stored and then displayed in sequences and grids. The work is divided into five sections, each introduced by a title: ‘GEOMETRY, ‘ANIMALS’, ‘MEN’, ‘MOONS’, and ‘THE DEAD’. Figurative elements enter the frame as solid or transparent silhouettes with little detail. They stream across the screen at different speeds, layer onto one another, or flicker and fade into and out of view. In ‘THE DEAD’, the final segment, imagery becomes less recognisable, and small points of light—moths that Buckner had recorded—seem to float erratically. The work is silent, focusing attention on its visual rhythms. Buckner’s manipulations resonate with ideas of universality and recurrence, a scale implied by Millennia’s title, but also appear distinctly digital.
To create Millennia, Buckner employed computer technology, which allowed images to be stored and then displayed in sequences and grids. The work is divided into five sections, each introduced by a title: ‘GEOMETRY, ‘ANIMALS’, ‘MEN’, ‘MOONS’, and ‘THE DEAD’. Figurative elements enter the frame as solid or transparent silhouettes with little detail. They stream across the screen at different speeds, layer onto one another, or flicker and fade into and out of view. In ‘THE DEAD’, the final segment, imagery becomes less recognisable, and small points of light—moths that Buckner had recorded—seem to float erratically. The work is silent, focusing attention on its visual rhythms. Buckner’s manipulations resonate with ideas of universality and recurrence, a scale implied by Millennia’s title, but also appear distinctly digital.
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