Lydia Gyurina’s use of the medium inevitably sends one back to the 1960s, when unique features of the hand-held camera defined the nature of viewers’ experience: immediacy of videotape playback not available in other media.
The unassuming simplicity of the image speaks of this immediacy. There is something strangely mesmerizing about watching a girl scaling the border of the pond, and having a random awkward interaction with wild geese. Watching along, all the seemingly unrelated reflections develop into a feeling of implication, but in what exactly?
Geese. Digital video, 2018. © Lydia Gyurina.
According to Lydia’s artist statement, she is interested in the Jungian concept of “people’s psyche being divided into two parts: the masculine, which is associated with doing, and the feminine, which is associated with being.” She finds that “the view of technology as most often conceived of in terms of the masculine, as a tool for completing a task, to be applied only when useful, often neglects technology’s impact upon the feminine aspect of being,” which she feels includes mental and physical stagnations. It’s up to the viewer to decide whether Geese is the artist’s attempt to reconnect with the immediate state of being, or does it explore a broader question of connection in general?
Lydia is studying Kinetic Imaging at the Virginia Commonwealth University, and will be graduating in 2020.
Her work Malaise was selected for Ephemereye exhibition Moving Silently, and will be shown at Niles Essanay in November 2018.