2014 Inception Award |Leanne Failla

In Scene by Leanne Failla from RMIT

To begin is to say that there exists a beginning rather than simply further manifestation from a point of acknowledgment. In declaring this, I not only reference the thinking contained within my research project, but of an understanding of that which surrounds us being in a constantly active state.

Using the theoretical foundations of event and encounter as the core driver for this research project (particularly through the works of Gilles Deleuze and Bernard Cache and notions of the fold and frame), my definition of these terms becomes directive of my process. The notion of encounter brings about a type of singular reading, whereby a point of culmination is reached so as to render an acknowledgement of its presence. Through display of this defining gesture, we read its presence broadly with little consideration to the series of moments which lead to its formation. This series of moments is defining of event. So in suggesting the singular nature of encounter, the linking of such, through event, makes this notion moot. In being part of an ongoing motion of interactive event, encounter becomes more about an expression of recognition and the perceived intensity of that moment within the scope of the greater scenario of event. The terms event and encounter can therefore be considered as co-dependent, as event/encounter.

In referencing event/encounter through a physical example, the role of acknowledged moments of encounter within the context of event can begin to be expressed and observed, and its role questioned as a point of investigation.

A series of insertions were installed within Room 602 at the Sheraton Hotel at 27 Little Collins Street in Melbourne. The inserted pieces consisted of various props through the modes of model making, painting and film, each interconnected through referencing physical moments present in the room. In terming them props, the pieces become suggestive of their role as instigator within the scene rather than simply self-contained objects.

Through engaging with the space as a 1:1 installation, the role of scale and its relationship between the viewer, props and environment becomes conveyed as is fully intended. As the viewer navigates the space, the prominent presence of the props, and their sense of layering into room, suggests the viewer’s place as further layering and observing the scene on the peripheral. Yet the scale of the viewer and their physical relationship to the props reference points within the room is expressive of their scene back within the insertions, questioning where they belong in the scene within scene.

As an extension of the physical which we attribute to the scene, the role of ourselves within such is regarded as an expansion of continuous inflection, in that we hold the capability to extend the physical beyond the boundaries of perceived limitations. The influence through prior knowledge is imbedded in the playing out of scene, and through this our place in event/ encounter becomes that of affect and affected.