IT, HEAT, HIT

Jamie Dillion

Friday, May 4th, 2012 - Sunday, May 27th, 2012

Lauren Prouvost’s, IT, HEAT, HIT, is a staccato composotion of fragmentary images, abrupt itnertitles and an urgent, whisperped voice-over. Organized according to an oblique and shifting logic, the piece weaves a loose narration of desire and past trauma while pushing the limits of comprehension and coherence.

The video is partly a narrative and partly a free, self-referential play with cinematic form and structure. “Smells re,” provust hisses ina voice over, as a fiery, glowing close up of hot embers flashes on the screen, barely long enough to register in the mind o hte viewer. A few moments later, a title appears:

IN HIS ANGER
THE IMAGES WERE
BURNING

Shortly thereafter:

THE FILM
HAD TO TURN
HERE

In this short passage, then, the text refers to the narrative elements such as feelings (anger) and characters (him). A the same time it referes to the images on the screen (which were burning) and to the structure of the film itself (which had to take a turn). The next image we see is a rapidfire sequence of a car turning, accompanied by the sound of a whistle or a siren. There are multiple organizing principles at play, multiple ways in which image, language and sound may be interconnected.

With it’s driving pace, disparate imagery and shifting structures, IT, HEAT, HIT will keep you in a state of cognitive overload. Prepared long-dormant neural pathways to reopen as your trace the threads (narrative and otherwise) that weave through Prouvost’s video. It may tickle