‘The mind’s deepest desire, even in its most elaborate operations, parallels man’s unconscious feeling in the face of his universe: it is an insistence upon familiarity, an appetite for clarity.’
Albert Camus ‘The Myth of Sisyphus’
Since reaching fifty last year, Horne has been engaged in a process of introspective self-analysis and sustained experimentation, resulting in several distinct strands of autobiographical work, exploring and expressing ideas of his identity, alongside more universal themes of absurdity and being. Much of this recent work deals with cycles, revolutions, and loops; of life and nature, the universe and time, concept and process.
LOOP is a video and projection installation, inspired by Albert Camus’ assertion that, driven by a deep-seated desire for familiarity, clarity, and meaning, we are predisposed to subconsciously fall into cycles of repetition, stultifying patterns of behaviour which he calls the ‘chain of daily gestures’. It is only when we are jolted from these cycles that we might become aware of the absurd nature of our existence. Such revelatory moments should drive us us to experience life with a renewed desire.
LOOP comprises a projected sequence of three short film segments produced using an experimental 360° 100-pinhole film camera rig developed and constructed by Horne. Part self-portrait, part-performance, each 100-frame sequence circles the artist, depicted in varying states of strength, fear, and melancholy. The projection is complemented by a video piece, looping on two small monitors, which depicts the needle of a record player stuck in a scratch, a mechanical Sisyphus, perpetually trapped in a futile cycle, unable to free itself from the groove. The sound of the scratch is relayed through speakers, creating an immersive, discomfiting repetition, reinforcing the monotony of a life lived blind to its inherent absurdity. A momentary silence which occurs at the end of the film and video loops, offers a literal break in the cycle, a jolt before the ‘chain’ begins again.