When at Times the Mob is Swayed
Single channel reverse video projection – loop (05:00), 2016
Chance and serendipity control what is recorded on amateur weather balloon and dashcam videos, and the images that result assume an authenticity historically associated with photography. By rotoscoping and redrawing the video frames, Barker foregrounds subjectivity in an attempt to understand the phenomena depicted. Meaning is constructed incrementally as a dialogue between the hands and the eyes of the artist and it is scaffolded in time from frame to frame. For Barker, every frame is a keyframe.
Becka Barker uses moving images, drawing, language, and participatory performance as strategies for exploring the influences of mediated communication and geography on identity. A defining feature of her work involves subverting typical media art production with hand-crafted processes, allowing her to investigate relationships of power and their embodiment. Barker’s work has been exhibited at venues such as the Ottawa International Animation Festival, Seoul’s EXiS (winner 2007, Best International Film), Nocturne Art at Night (Halifax), Images Festival (Toronto), Festival du Nouveau Cinéma (Montreal), KunstDoc Art Gallery (Seoul), Halifax Independent Filmmakers Festival, Atlantic Film Festival, eyelevel gallery (Halifax), and Echo Park Film Centre (Los Angeles). She has been regular part-time faculty at NSCAD University since 2005.
Becka Barker would like to thank Arts Nova Scotia for travel funding, supporting her work in The Frame is the Keyframe: Frame Anomalies.
The Frame is the Keyframe: Frame Anomalies
November 10, 2016 – December 16, 2016
Featuring new works by:
Curated by Madi Piller, with an essay by Clint Enns
Presented with funding from the Canada Council for the Arts – Media Arts Initiatives
and with additional funding provided by
and in partnership with