The Siren

'The Siren' explores the nature of the feminine mystique within the screen and the seemingly active gaze of the audience, to reveal the inherent paradoxes and enchanting nature of the seduction of the projected image.

It is here within the projected film plane that a tension is realised between the material (the auditorium and the screen) and the immaterial (the projected moving image). The film plane is a void, a non-entity consisting of a substantial nothingness and it is within this nothingness that the Siren’s projected presence exists as pure artifice. The screen itself becomes like the water, “an absence of depth, a superficial abyss” (Baudrillard, 1979). It is within this abyss that the Siren, by playing to her nothingness, exists as pure ephemeral light and constructs her own reality - a reality where she forces the audience to acknowledge her presence and demands, 'If I do not exist in my own right, then what exactly am I?'

'The Siren' was filmed entirely underwater, as the very first slow motion underwater holographic film installation. Although originally intended for the medium of holographic projection, it can exist outside of this medium as a 2-dimensional film projection or installation.