All That is by Elin Kristine Kromann

I mainly work with conceptual art video. The focus of my production is the small wonders of everyday life. Often the works follow at familiar narrative structure, but at the same time any kind of plot has been left out.

Click here to download video (01:37) 13.20 MB

Video/2009. Title: All That is (01:37)

Elin Kristine Kromann is utilising the video as part of the temporal sculpture. The space that is created by the video image becomes a sculptural volume. This is clear in a work like “All that is” (2009). The sequence starts with an unending, flat and bare landscape filmed with static camera. The artist enters in front of the camera in a close-up, and blows up a yellow balloon until it fills out the whole image and, a second later, explodes. Here, she uses a sculptural procedure on the video image. While being aware of its fiction, she builds up a sculptural narrative, in which an apparently unending landscape can be filled up by a yellow balloon. It is clear that this fiction only exists in the video image, one could not have observed the sculptural moment as a spectator on site. It is therefore not a documentation, but a narrative sculptural fiction. Many of Kromann’s video works are constructed in this way: as narrative mini-fictions filmed with a static camera, in which the fictive space created by the video image is used as a volume for a sculptural purpose. They play with the paradox in the fiction of the image, and create an ephemeral sculpture in the tension between the space as a volume and the presence of a person or an object in it.
By pointing to paradoxes such as the temporal dimension of sculpture and the volume of the video image, Elin Kristine Kromann is working in the tradition of the expanded sculpture. While examining the digital image, she also insists on exploring the possibility for a presence of people and objects – the presence we could call one of the small wonders of everyday life, ephemeral as it is. This is maybe another paradox that she works with, a paradox that fills up a large part of our everyday lives – the possibility for a physical presence in the digital image.