I awoke in the night having watched the 4 chapters of 2052 selves films I made for Knole in 2018. Whilst filming I had an interest in the representations of POC in the house and I drew attention to them in the film as a reminder of colonialism. The novel Orlando, which uses Knole as a backdrop, opens with a barbaric and violent reminder of colonial aggression. But watching the films yesterday I didn't feel that I had been clear enough on my position on this – as utterly against it. This thought arises today from the specifics of this current context and statements on racism being issued by all institutions that hold objects and documents that relate to slavery.
The work was made to be seen on-line, having left the house and was episodic, the films were added over a number of weeks with an idea that there would be a delay in time between seeing each part. Everything in the film more or less is in Knole. I have always considered my works to be of their moment in terms of content and context, the innovation of form is also a driving factor which pushes forward at each exhibition. The works are often episodic in this way and so are often altered for the place they will be seen.
Now I am about to re-edit the work as a film that can be shown in film festivals. My intention is to take the 4 Chapters and make them one but feel although it would be easy to remove the explicit colonial references I feel I should retain them. I will try to position the film a little more clearly in relation to social political messages which were focussed on the question of gender with a background of privileged classes and exploitation (relating to the British class system and slavery).
My thoughts are very much focussed on the specifics of individual anecdotal experiences rather than the big ideas about people in general which can only seem to take more recourse to stereo typing when the human becomes abstracted.
I have removed the four chapters from my site for now.