Robyn Stacey | All the Sounds of Fear
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ALL THE SOUNDS OF FEAR
The images in Redline 7000, prefigure the concerns of the 1990 series All the Sounds of Fear. This time the interest has moved from the protagonist of the earlier series to the backdrop of the film noir images – the city – and elevating it to become the central theme and subject of All the Sounds of Fear.
In this series Stacey abandons the hand-colouring of ‘Redline 7000’ and her earlier film-noir series ‘Kiss Kiss Bang Bang’, to focus on computer-generated imagery. Stacey depicts the postmodern city from multiple viewpoints, and as experienced through the pixillated images of television, advertising and surveillance. Again, rather than presenting resolved images, she gives visual clues from which narratives can be constructed, based on the ‘split-second assumptions’ of viewers who have been ‘educated by off-frame narratives of crime films’.
Robyn Stacey
All the Sounds of Fear
enquire about this work
enquire about this work
enquire about this work
enquire about this work
ALL THE SOUNDS OF FEAR
The images in Redline 7000, prefigure the concerns of the 1990 series All the Sounds of Fear. This time the interest has moved from the protagonist of the earlier series to the backdrop of the film noir images – the city – and elevating it to become the central theme and subject of All the Sounds of Fear.
In this series Stacey abandons the hand-colouring of ‘Redline 7000’ and her earlier film-noir series ‘Kiss Kiss Bang Bang’, to focus on computer-generated imagery. Stacey depicts the postmodern city from multiple viewpoints, and as experienced through the pixillated images of television, advertising and surveillance. Again, rather than presenting resolved images, she gives visual clues from which narratives can be constructed, based on the ‘split-second assumptions’ of viewers who have been ‘educated by off-frame narratives of crime films’.