Liddy Scheffknecht explores the relation between temporality and perception.
In her photographic sequences, videos, installations, light and shadow projections Liddy Scheffknecht explores the relation between temporality and perception. The temporality of photographic standstills are elaborately expanded through video projections. The result is a hybrid of the static and the moving image which intertwines the photographic and the filmic medium in surprising new ways. Besides computer based image techniques the artist uses sunlight as a plastic material; analogue light and shadow projections that are created through direct solar irradiation.
Liddy Scheffknecht lives and works in Vienna. Her works were presented in solo shows at Kunsthalle Nexus Saalfelden, Georg Kargl Fine Arts Vienna, the Galerie der Stadt Wels and at the Kunsthaus Graz. She participated in numerous group shows, including the Albertina, Vienna, the Edith-Russ-Haus für Medienkunst in Oldenburg, the 4th International Sinop Biennial in Turkey, the Tokyo Wonder Site Hongo in Tokyo and in the 2nd Moscow International Biennial for Young Art.
Crop
HD Video / 03:13 min / 2013
‘Crop’ is part of a series of videos, in which Liddy Scheffknecht explores sunlight as a sculptural material. Sunlight that shines through a window is cast into a specific shape by silhouettes attached to it. The result is an immaterial image of light or shadow, which moves through the room – propelled by the earth’s rotation – changing its shape, size, and proportion continually. At one particular moment during the day, the sculpted shadow connects itself to an object – in this case with the plant, in the room. What emerges is an illusion of unity of the object and the “artificial“ shadow.
Wipeout
HD Video / 00:29 min / 2015
In ‘Wipeout’, Liddy Scheffknecht uses sunlight and an everyday object – a sponge – as sculptural material. The light that shines through a window is cast into a specific shape – the traces of a sponge – by silhouettes attached to the window. By uncovering and moving the hand with the sponge simultaneously, the sponge becomes a painting or cleaning tool, applying sunlight to the surface, or revealing it.
The end
HD Video / 01:33 min / 2015
Liddy Scheffknecht discovered the TV-monitor from the 70ies in a soon to be renovated flat. Through careful manipulation of the setting, the broken monitor turns alive: A silhouette of the characters “The End” were attached to a window. At one moment a day the sun shines through it, casting the characters directly onto the screen. In this very moment the blinds of the window are slowly opened. The characters appear, but before, the little holes in the jalousie present an old school digital effect on the screen.