Sophie Clements is a visual artist based in London. With a background in biochemetry and a strong inspiration from experimental music, Clements developped a practices encompassing a wide range of disciplines, with the desire to proposes interactions and immersive experiences to the spectators. Offering them a chance to question the concrete ‘real’ and the constructed ‘unreal’. Her recent work explores the use of video as a form of sculpture, using devices including sculptural installation and video projection to deconstruct and re-assemble time and material to investigate the notion of physical reality in relation to sensation and memory. Sophie Clements explores deeply the tools of the video medium and its ability to re-construct, even artificially, the impression of natural phenomenon such as memory. Interested in what is suggested metaphorically, the artist manipulates the video’s characteristic, most specifically the movement of camera and the treatment of time, to translate the notion of ephemeral and un-containable nature of physical reality. This links with the idea of the impossible in relation to our experience of time and memory – how we can, though we know it impossible, allow ourselves to wish to go back, or to wish we could hold onto something we know will change. It’s the eternal dilemma of man, that we can’t control change and the passing of time. For the artist the action of freezing these moments in time is a kind of symbolic attempt to discuss this. Sophie Clements uses the video as a tool for observing a subject in a different way, deconstructing our typical modes of perception in order to see something new. In her own words the artist is “using video as a lens that permits the gradual observation of something that you couldn’t see with the naked eye.”
Commissioned by The Barbican, How We Fall (2017) observes a moment of change: Cities fall, governments fall, humans fall. In other words, the movement in its pure essence. This piece is both a study of material and light, and a suggestion of melancholy reflection on our changing fortunes: How things change. Using state of the art photographic technology to capture a moment in time in 360 degrees, How We Fall (2017) shows falling cement, transformed into evocative structures or landscapes, reminiscent of many of the contemporary images that surround us today. The beautiful and enigmatic movement of circular panoramic, a rebours: from the impact back to the throwing, create a sensation of time that challenges the phenomenon of memory.
Sound by Jo Wills and Sophie Clements.