Meddle

In the video installation Meddle, the camera functions almost as an autonomous entity, immersed in an environment where technology and the sea engage in dialogue. The title, inspired by the cover image of homonymous Pink Floyd album, evokes visual interference and undulations that intertwine with ambient sounds. At the same time, it suggests the act of meddling or “remaining in the middle,” affecting and transforming with each encounter.

This visual realization is complemented by the sonic textures of Les Biologistes Marins, whose rhythms and fluctuations amplify an intermedial atmosphere, creating relationships, patterns, and tones that form various connections. We experience landscapes in transition that resonate, conveyed through images marked by strangeness and singularity.

Connected by a 50-meter red thread, the camera is cast into the sea and its movements, allowing details and multiple perspectives to generate unexpected forms. Here, the artist relinquishes control, letting it fall freely, subjected to random encounters. We observe a tension between medium and de- vice, between water and camera, between what is in focus and what remains blurred.

The linear horizon of the open sea, observed from stable, solid ground, is fragmented and recom- posed into a multiplicity of perspectives that shift the gaze toward the edges. While the center tends to capture the most of the attention, it remains in blurry motion in-between emerging spaces. What once marked the boundary between the outside and the inside becomes indistinct, affected by move- ment, allowing images to surface with subtle details and textures..

From the depths of the Mediterranean, the transient surface of the sea filters light, distorting and reflecting it in fleeting flashes. The tempo-spatial rhythm revealed by the machine uncovers variety, unexpected bifurcations, and turns, all while maintaining a sense of constant suspension. In this sense, the agency of the apparatus becomes more evident through its lack of precise intention, as its spins and slides differ from traditional representations of underwater landscapes.

One image becomes another without causality, in a porous montage where the process of creating images turns accidents into encounters. New perspectives arise, resulting from the device’s interac- tions as it drifts. Drawing from Baruch Spinoza’s philosophy, the world can be conceived as a surface of infinite assembled encounters, always poised to reveal itself in its constant flow and variation.

Texto curatorial de Adriana Monroy Galindo