Here are a selection of pics from India
[slideshow]
Shimla crowds, Delhi scooter ride, Delhi crowds
I think of my photo explorations as moving images– thus a series of stills to be made into movies and projected as installations, or live. It can be very difficult to pull stills from them– I tend to choose views that I think will work with something else, or collage, and where movement of crowds, or light is most evident.
So these are pics (mostly) selected from timelapses (edited movies to come)
India certainly presented; beyond the normal technical considerations of setting up the tripod, getting the F stop and shutter speed correct, focus, ISO etc; physical difficulties– crowds of touts surrounding one, extreme (108 degree) heat, such crazy pollution it nearly induced an asthma attack… thus the paucity of shots from Delhi, where these things were most extreme…
I am playing with time in these shots– with slow shutter the crowds becoming Delhi djinn, or Shimla water.
Peter Bill is an Artist, Activist and Educator. He has, since learning photoshop v. 1.5, been interested in connecting under-represented communities with digital tools so their voices may be broadcast. He has been involved with large scale video projections, guerrilla art actions, and community building since the 90s.
Peter Bill's award winning paint and video landscapes have shown in such diverse venues as The Kitchen(NYC), the Henry Art Gallery(Seattle), FILE Festival(São Paulo, Brazil), and other international venues. He continues in his Oil paintings and video work to weave the painterly with the digital, pixels and paint, indigo and 191970 blue. He envisioned and realized the first time-lapse film festival in North America, the Gila Timelapse Film Festival and has curated and directed shows on three continents. "Art must be realized on the streets, as an agent of change and progress."
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Much of my art has been about creating a vessel, a space for meditation. Through my painting and video installations I hope to create a moment of quietude, a contemplation of this world we have built.
In my mural and documentary film work I have balanced a certain transcendentalism in my heart with my didactic scots-yankee bones. In the public sphere arts role is to inspire and provoke. Therefore in my mural projects I have attempted to involve the local community in the conception and realization of my projects. In my animations and short films I have attempted critiques of the bathetic apocalyptic culture we live in, the false utopia of the California landscape, the contested landscape of New Mexico, and tried to get to the situation on the ground in war torn Bosnia, among other subjects. The world is a complicated, granular place. We cannot oversimplify with our stories, but we can in their telling change opinions, and thus change the world for the better.
