Raymond Boisjoly’s work investigates technology, Aboriginal identity, the relationship between text and image as well as the limits of the visible.
(And) Other Echoes comprises a series of twelve images and a parallel floor text after Kent Mackenzie’s 1961 film The Exiles, a chronicle of Native Americans − women and men − who have left the reservations of the Southwest for Los Angeles. These images were made by placing an iPhone or iPad playing the film onto a flatbed scanner, a process that creates abstracted and distorted images in which the disjointed relationship between still and moving image subtly echoes the difficulties faced by the subjects of the film used as source material.
The gradual collapsing of temporalities is especially potent: while The Exiles takes place over 24 hours, its running time is only 72 minutes, of which Boisjoly’s photographic instantanés capture a duration equal to the time the scanner takes to sweep across the surface. By face-mounting the images behind darkened acrylic, the artist further obscures them, drawing attention to the difficulties of transferring one image to another and evoking mainstream culture’s blindness toward urban First Nations communities.
Aphoristically toned phrases − the titles of each work in the series − are laid out on the floor. These parallel texts open another interstitial space, alluding to subjects, times and places.