Having spent a bit of time looking over the body of work Zone of Transit, 2009 – 2011, I have begun to tease out some recurring themes. One of those themes is that of the tendril: the vines that come from the plant, outside the zone, down to the water. Though this reference is perhaps an incorrect term in reference to botany, it is the sound of the word and the wider implications and associations that the word has that resonates for me.
I recently re-watched Sophie Fiennes’ fantastic, ‘Perverts guide to cinema’, 2006. Slavoj Zizek’s analysis of Andrey Tarkovskiy’s ‘Stalker’, 1979 (a considerable influence in the projects development), has brought back to me why I have been engaged, for so long, with this liminal space.
“We need the excuse of a fiction to stage what we truly are. Stalker is a film about a Zone; a prohibited space where there is debris, reminders, of aliens visiting us. Stalkers are people who specialize in smuggling foreigners, who want to visit into this space. Where you get very magical objects, the main among them is the room, in the middle of this space where, it is claimed, your desires will be realized.
In Stalker…it’s a zone where your desires get realized on condition you are able to formulate them. Of course you are never able, which is why everybody fails, once you get there in the centre of the zone…There is nothing specific about the zone. It’s purely a place where a certain limit is set. You set a limit, you put a certain zone off limit and, although things remain exactly the same as they were, it is perceived as another place. Precisely it is the place on to which you can project your beliefs, your fears, things from your inner space.” sic