Melisa Onel alternates between video and photo at the whim of her artistic inspiration, with each tool offering a possible field of exploration. If photography is a testing ground, then video, with its inherent temporal dimension, is the exploration of a subject whose development under a time constraint defines the narrative—a time that, although later edited, imposes its share of unpredictability. It’s this dependence on the playing out of a phenomenon, a factor that stimulates the creative process, that we find in the climax of the video Ruya. In museums, the video is played in a loop, invariably repeating the story that is a metaphor for the cyclical aspect of the quotidian. Filming underwater, the camera records the progressive submersion of objects arranged on a transparent plastic tarp that is subtly perceptible in the video.
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