This work is part of the rewind archive.
Duration: 36m 35s
Year: 1975Original formats:
1/2" EIAJ Type 1Media types:
VideoType of work:
Funding source: Self
First exhibited: Scottish Arts Council for Edinburgh 1975
Technical details: 4 Screens (different ways), No sound
‘Breeze’ and ‘Disintegrating Forms’ were both designed as multi-screen installations. Breeze consists of four TV monitors placed side by side, showing four different shots of water, the camera being placed and allowed to run for ten minutes in each case. Tapes 2 and 3 are shown here. Close up shots of water appear to relate to the surface of the screen, giving the illusion of a TV set containing water. In 2, rapid movements of the water relates to the scan line.
‘Disintegrating Forms’ was shown on eight screens at the Tate Gallery and placed at various heights giving the illusion of forms moving from screen to screen. In this case clouds move slowly across the screen slowly dissolving, and clearing suggesting at the end of the sequence that there is no picture on the screen. In both ‘Breeze’ and ‘Disintegrating Forms’ I have tried to search for a basic visual aesthetic of TV using recognisable imagery, in this case taken from nature, and manipulated to highlight the intrinsic qualities of the medium. – Catalogue Entry from “Artists Video 1976′ Biddick Farm Arts Centre by Tamara Krikorian 1976
‘Breeze’:Article from Studio International, 1976 – Krikorian describes the role of the monitor in video practice.
Article from Studio International, 1976 – Krikorian describes the role of the monitor in video practice.
Document including, from Tamara Krikorian to Steve Partridge, regarding ‘Video defining an Aesthetic’, Third Eye Centre, 1977
‘Serpentine Video Show – Live Events, 1975’, with details of installation programme, performances and screenings
Catalogue Entry from “Artists Video 1976′ Biddick Farm Arts Centre, includes information on ‘Disintegrating Forms’ and ‘Breeze’ by Tamara Krikorian
Video Report | David Hall on Artists Video at The Galleries, Washington Tyne and Wear, 18-30 October 1976. First published in Studio International, Jan 1977
“Tamara Krikorian (1944-, UK) produced a number of important works during the 1970s including multi-screen installations such as ‘Breeze’ (1975), a four-channel videotape installation of images of flowing water exploiting the extreme image contrast fluctuations of the monochrome video camera which both evoked the landscape tradition in British art and asserted the video medium’s presence in the representation of the subject.”-
Chris Meigh-Andrews, A History of Video Art, The Development of Form and Function. Berg, 2006.