Using the media of photography, video, sculpture, drawing, and installation, Geoffrey Farmer explores the question of how perception is defined by the specific realm that we see and how everything visual becomes a prop and an agent of memory. In his scenic-narrative installations, objects, and visual conglomerates, Farmer often blurs fiction and (temporary) reality as well as diverging moments of space-time and dimensions. He uses the film and entertainment industries of West Coast cities like Vancouver and Los Angeles and transfers the cinematic to an animism of images and objects. Using light, sound, transformation, and the reproduction of fantastic-real interiors, in his kinetic installations and choreographic collections visual contexts are generated. Farmer often works with the principle of collage when he takes recourse to the classical visual archive, cutting out images and assembling them to large installations.
In the framework of Berlin Art Week, Schinkel Pavillon will present two works by the artist. A spatially expansive installation of photographic reproductions of paintings, sculptures from various periods and contexts and made using various materials are assembled to form a collaged cabinet. For the second work Look in my face; my name is Might-have-been; I am also called No-more, Too-late, Farewell, a digital slide show, Geoffrey Farmer compiled a wide range of photographs. Combined with sounds, this work presents a comprehensive depiction of the most various facets of human life as documented by photographers over the past 150 years.